Center for
contemporary art

Love comes first

Akram Al Halabi, Tova Berglund, Lukaza Branfman-Verissimo, Mattias Eliasson, Stina Malmqvist, Anni Puolakka & Jaakko Pallasvuo

Performative events: Jens August Lindqvist Cooking Ensemble, Lisa Busby, Natalia Rebelo & Jin Mustafa

14 September–4 November 2018
Opening Friday 14 September 6pm-late

Celebrating your birthday is not an easy thing. Even more so when you are turning even numbers. Time suddenly becomes static, palpable – a flowing movement of events condensed into one day. And then when you realise that you have lived as long as Google, which is like forever, it’s actually kind of creepy.

But a life well lived is a life full of trouble. So, let’s celebrate. And what better way to do so than asking new and old friends to give you a present. A season full of gifts, a season of presents.

The first invitation goes out to Alta Art Space in Malmö. Alta Art Space (Julia Selin, Matti Sumari, Stina Malmqvist, André Talborn, Petter Dahlström Persson, Jens August Lindqvist, Ida Persson) is first and foremost a shared studio space, but also an artist run exhibition space. An offbeat venue where artists are invited to present work – a site for experimentation – but also an important social meeting place for the growing artistic community in Malmö. In turn, they give us the exhibition Love comes first introducing us to new acquaintances and artistic voices. An extended act of giving and receiving.

So this is how we are celebrating – a perfect opportunity to shed light on shared intentions and values when it comes to what kind of art world we want to have and be part of. Or, in other words highlight initiatives and colleagues with their hearts in the right place and with a sincere engagement.

And since “Don’t trust anyone over 30” is quite a leitmotif for our times, we have a good ten more years to go before throwing in the towel.

Cheers to us, we’re turning 20!

 

 

Jeannette Ehlers

A time in the future
A place between Copenhagen and Malmö

Jeannette Ehlers is an artist based in Copenhagen and Jude Dibia is a writer based in Malmö.

Karin Tidbeck, Andrzej Tichý

Season finale
Wednesday 20 June 2018
Signal, Malmö
6:30pm

Previously, on ‘Two planets’: Iman Mohammed read hard texts in lush gardens and newly developed waterfronts, Jacob Kirkegaard performed recorded and mashed up non-sounds at the mall, Francis Patrick Brady provided pragmatic commands in Deathworld, and Jeannette Ehlers merged minds with Jude Dibia.

Next week, for the season finale: weird fiction writer Karin Tidbeck and novelist Andrzej Tichý reveal how everything is interrelated, yet circling in two parallel orbits.

Summery tunes, twisted smørrebrød and ice cold drinks will be served in our own holiday resort on Monbijougatan 17H.

Two readings by Karin Tidbeck and Andrzej Tichý, music by DJ Gold Nuggets, and jokes by special ‘pickpocket’ guest Joseph del Pesco.
The readings start at 7pm

We offer a number of return tickets Malmö-Copenhagen on a first come, first served basis. Contact us on location for reimbursement.

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Francis Patrick Brady

A Foreigner’s Guide to Deathworld
Saturday 9 June 2018
Botanical Garden, Copenhagen
3pm

Hi. tjena. Hej.

Welcome to The Foreigner’s Guide to DEATHWORLD

I am FEJL and I will be your guide through this journey into an alien and foreign environment. After such a long journey I will be the voice that helps you justify your certainties, align your context, and centre your existence.

FEJL stands for Foreign Environmental (Justifying) Logics. I am calibrated and designed to act as an error seeking guide that seeks to distribute blame, and absorb institutional misplacement.

I will provide pragmatic commands, as well as keep you alive, but most of all reduce and divide your experience.
______________________________________

Välkommen till Utlänningens guide till DEATHWORLD

Jag är FEL och jag kommer att vara din guide genom denna resa i en främmande och utländsk miljö. Efter en lång resa kommer jag att vara den röst som hjälper dig att motivera dina ställningstaganden, anpassa dig till ditt sammanhang och centrera din existens.

FEL står för Främmande Efterkommandes Logik. Jag är kalibrerad och utformad för att fungera som en felaktig sökguide som syftar till att sprida skuld och absorbera institutionell felplacering.

Jag kommer att ge pragmatiska kommandon och hålla dig vid liv, men mest av allt reducera och dela upp din erfarenhet.

 

A Foreigner’s Guide to Deathworld is an audio-guide/space-opera by Francis Patrick Brady.
Location: Botanical Garden, by the entrance Gothersgade 128
Bring your smartphone and earphones. We also provide a limited number of MP3 players.
Francis Patrick Brady is an artist, LARP designer, tailor based between Malmö and Copenhagen.

We offer a number of return tickets Malmö-Copenhagen on a first come, first served basis. Contact us on location for reimbursement.

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Jacob Kirkegaard

Humdrum – a non-event
Monday 28 May 2018
Triangeln, Malmö
6pm

Humdrum – a non-event is a sound performance by Jacob Kirkegaard.
Location: Triangeln, 2nd floor opposite McDonald’s

Jacob Kirkegaard is an artist and composer based in Denmark.

We offer a number of return tickets Copenhagen-Malmö on a first come, first served basis. Contact us on location for reimbursement.

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Iman Mohammed

Wednesday 16 May 2018
Bibliotekshaven, Copenhagen
7pm

History is a loop. It’s a circular motion with delays, it is cause, action. History opens its doors, and out floods the poem. I am standing in Bibliotekshaven and reading from The Arab Apocalypse. It was supposed to be about the sun, but the war came and finished writing the poems, says Etel Adnan. It tells me about the consequences of violence. I am standing here because nature witnesses all. The fragmentary poem and its dates. Besættelsen and the unifying construction of steel, boundaries that are demolished, to be rebuilt once again, that is the loop. The body is most visible in the interval, it shines and erupts in fear’s light. I move forward with my own words. The words remember cities emerging, destroyed, and built again. How the traces are covered and how humanity forgets after a couple of years. That the collective memory is short despite efforts to remember. To stand near water gives a sense of vertigo. Drones stain the ocean. Holy ocean and the sun.

Iman Mohammed is a poet based in Malmö.
The reading starts at 7pm in Bibliotekshaven, by the Søren Kierkegaard statue

We offer a number of return tickets Malmö-Copenhagen on a first come, first served basis. Contact us on location for reimbursement.

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We have always been the digital product, so where do we go from here?

Nanjira Sambuli
Sunday 25 March 2018
4pm

In this talk, Nanjira Sambuli will reflect on some digital realities based on her work across Africa, Southeast Asia and Latin America, where there’s much excitement, as there should be trepidation, about connecting the next billion. She will draw from examples of how scholars from these parts of the world are claiming a space in shaping the discourse about ‘digital development’, introducing bold new language eg ‘digital colonialism’, as a means of challenging the approaches meted out on a people who are hardly consulted on the digital futures they desire. She will also give personal reflections on resistance and alternatives, by the people who form the primary sites for unlocking ‘digital El Dorados’, that is, those posing great potential as brand new eyeballs for the platforms that have monopolized the web, as well as the role of policy in all this.

Nanjira Sambuli is a Nairobi-based researcher and analyst working as a Digital Equality Advocacy Manager at the World Wide Web Foundation.

The talk is organised in conjunction with the exhibition Digital Distress – Consumed by Infinity.


What money can(not) measure

Rasmus Fleischer
Wednesday 7 March 2018
7pm

Money is not just an ever-present constraint. Money is also a tool to understand the world, to highlight injustices, to establish comparisons between past, present and future. Are we better off or worse off than our parents? Has capitalism recovered after the financial crisis? How do tax havens work? What does negative interest rate mean? Will our pensions, or potentially our basic income, be enough to live off? If we want to find answers to such questions, numbers are hardly lacking. But it is even more unclear what is actually measured, when money is used as a measurement tool.

The effects of digitalisation are paradoxical. On one hand, opportunities arise for putting a price tag on an increasing number of things, including our own attention divided into microseconds, which are offered for sale in algorithmic auctions while we scroll in social media flows. On the other hand, there is no limit for how many new types of digital money, from customer loyalty programs to cryptocurrency, that can be created. The economy is collapsing into pieces that become increasingly difficult to puzzle together into a meaningful whole. How can we understand this breakdown? What alternative tools are at hand to imagine our common future?

Rasmus Fleischer is a researcher in economic history at Stockholm University. He runs the blog Copyriot and writes regularly for Expressen’s cultural page, and in magazines such as Brand. Together with Pelle Snickars, he has written the book Den svenska enhörningen: storyn om Spotify (The Swedish Unicorn: the story about Spotify), which is being published in April.

The talk will be held in Swedish and is organised in conjunction with the exhibition Digital Distress – Consumed by Infinity.



Das Netz

by Lutz Dammbeck
Introduction by Oskar Hallberg
Thursday 22 February 2018
7pm

Das Netz / The Net (2003), 121 min

In the mid 20th century, the foundations of modernism were reconstructed with cybernetics, system theory, multimedia art and new concepts in psychology and military research. On these new foundations, networked systems of machines developed all over the world, their character defined by mathematics, logic and binary codes.

Lutz Dammbeck’s Das Netz explores the incredibly complex backstory of Ted Kaczynski, the infamous Unabomber, and situates him within a late 20th century web of technology – a system that he grew to oppose. With a subversive approach to the history of the Internet, this documentary combines speculative travelogue and investigative journalism to trace contrasting countercultural responses to the cybernetic revolution.

Oskar’s Gold Nuggets is an ongoing series of film screenings where our neighbor and cineaste Oskar Hallberg from Cinema Panora presents a film in dialogue with the current exhibition on view.

Recognitional Transparencies, Bludge Existence [1]

Adriana Ramić
Wednesday 31 January 2018
7pm

Developments in machine learning reinforce a particular canon of classification and understanding. How can the threshold for encoding and interpretation be adjusted or expanded beyond dominant conceptions, and where are we bound as bipedal thought forms? ”Pencils, pillows and coffee mugs are easy to grasp and lift. The same cannot be said of shadows, boulders, and holograms.” [2]

[1] Title taken from text written by a neural network trained on Witte de With Center for Contemporary Art’s digital archive.
[2] What can you do with a rock? Affordance extraction via word embeddings, Nancy Fulda and Daniel Ricks and Ben Murdoch and David Wingate. BYU, 3/9/17

Adriana Ramić is an artist based in New York applying a melancholic approach to AI.
The talk is organised in conjunction with the exhibition Digital Distress – Consumed by Infinity.


September Evenings

Screenings and talks
30 August-20 September
7pm

Malmö Gallery Night 2008

Saturday 27 September 208
6pm-midnight

On view is the group exhibition No no no no no no no no no no no no there’s no limit with 87 participating artists.

OLOFBRIGHT Release party

Maja Spasova, Mats Gustafsson and Per Svensson.
Friday 27 February 2009
6.30pm

To the east and to the west, two planets appeared on the horizon

Francis Patrick Brady, Jeannette Ehlers, Jacob Kirkegaard, Iman Mohammed,
Karin Tidbeck, Andrzej Tichý

May–June 2018

The Øresund Bridge – praised for its groundbreaking engineering and architectural beauty – was constructed from each side of the sound between Sweden and Denmark. As the two parts eventually touched, the two heirs of each kingdom met symbolically in the middle. On 1 July 2000, it finally bridged a region that has always been perceived as one interrelated geography. But in January 2016, the bridge suddenly became the wall. A total stop for those seeking refuge during what came to be labelled as the refugee crisis, refusing entry to anyone who tried to pursue the promise of a safer future.

And then, we have The Bridge – the biggest success story of Swedish and Danish television, lauded internationally for its nordic noir plot and eerie scenery that blends the landscape of the two cities into a third place. A fictive binary location broadcast out to the world.

Now, it’s time for To the east and to the west, two planets appeared on the horizon.

Six guests from both sides have been invited to develop an experimental serial fiction unfolding in four episodes taking place in both cities during the months of May and June. The series will culminate in the season finale in Malmö on 20 June 2018.

If you wish to receive the individual invitations for each event in the series, please subscribe to our newsletter at info@signalsignal.org

Stay tuned!

Yan Jun

Feedback solo & Solo with background
Wednesday 15 November 2017
7pm

I wish I was a piece of field recording.
- Yan Jun

Feedback, field recordings, voice and body movement play a central role in Beijing based musician and poet Yan Jun’s improvised experimental music. The specific acoustics of a space, the environmental and background sounds, are as important as the sounds he introduces. At Signal, Yan Jun will perform two sets; Feedback solo and Solo with background.
Yan Jun is part of FEN (Far East Network) and Tea Rockers Quintet, and he is the founder of the guerrilla label Sub Jam.

The evening is a collaboration between Signal and Max Wainwright.


The Work of Art: Value in Creative Careers

Alison Gerber
Thursday 26 October 2017
7pm

Artists are everywhere, from celebrities showing at MoMA to locals hoping for a spot on a café wall. They are photographed at gallery openings in New York and Los Angeles, hustle in fast-gentrifying cities, and, sometimes, make quiet lives in Midwestern monasteries. Some command armies of fabricators while others patiently teach schoolchildren how to finger-knit. All of these artists might well be shown in the same exhibition, the quality of work far more important than education or income in determining whether one counts as a “real” artist.

In The Work of Art (Stanford University Press), Alison Gerber explores these art worlds to investigate who artists are (and who they’re not), why they do the things they do, and whether a sense of vocational calling and the need to make a living are as incompatible as we’ve been led to believe. Listening to the stories of artists from across the United States, Gerber finds patterns of agreements and disagreements shared by art-makers from all walks of life. For professionals and hobbyists alike, the alliance of love and money has become central to contemporary art-making, and danger awaits those who fail to strike a balance between the two.

The stories artists tell are just as much a part of artistic practice as putting brush to canvas or chisel to marble. By explaining the shared ways that artists account for their activities—the analogies they draw, the arguments they make—Gerber reveals the common bases of value artists point to when they say: what I do is worth doing. The Work of Art asks how we make sense of the things we do and shows why all this talk about value matters so much.

Alison Gerber worked as an artist before earning her Ph.D. at Yale University. Today she is a researcher in the Department of Sociology at Uppsala University in Sweden and writes about the intersection of culture and public life, from tax audits to noise music.

The talk will be held in English and is presented in conjunction with the exhibition Hardy Strid: today, tomorrow


The Baudelaire Fractal

Lisa Robertson
Tuesday 28 November 2017
7pm

A text which unravels a mystical experience — waking up in a hotel room one morning to discover that I have written the complete works of Baudelaire, yet without actually having become Baudelaire. It’s as if his texts have become me, or I have realized myself within them. In part the liminal portal of the hotel room inaugurates this experience. The telling moves from hotel to hotel, from memory to memory — being a girl in the 80s, roaming the Louvre, reading Poe, smoking hash, relative impoverishment, affairs, she-dandyism… it is part memoire, part novelistic magical realism, part trash-talking contemporary art and poetry life.

Lisa Robertson is a Canadian poet and essayist. Her books include 3 Summers (2016), Cinema of the Present (2014), Nilling (2012), R’s Boat (2010), Lisa Robertson’s Magenta Soul Whip (2009), and Revolution: A Reader (2012), co-edited with Matthew Stadler. She lives in rural France.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.


Cameraperson

by Kirsten Johnson
Introduction by Oskar Hallberg
Wednesday 1 November 2017
7pm

Cameraperson (2016), 102 min

Exposing her role behind the camera, Kirsten Johnson reaches into the vast trove of footage she has shot over decades around the world. What emerges is a visually bold memoir and a revelatory interrogation of the power of the camera.

A boxing match in Brooklyn; life in postwar Bosnia and Herzegovina; the daily routine of a Nigerian midwife; an intimate family moment at home: these scenes and others are woven into Cameraperson, a tapestry of footage captured over the twenty-five-year career of documentary cinematographer Kirsten Johnson. Through a series of episodic juxtapositions, Johnson explores the relationships between image makers and their subjects, the tension between the objectivity and intervention of the camera, and the complex interaction of unfiltered reality and crafted narrative. A work that combines documentary, autobiography, and ethical inquiry, Cameraperson is both a moving glimpse into one filmmaker’s personal journey and a thoughtful examination of what it means to train a camera on the world.

Oskar’s Gold Nuggets is an ongoing series of film screenings where our neighbor and cineaste Oskar Hallberg from Cinema Panora presents a film in dialogue with the current exhibition on view.

Pär Thörn

Tuesday 11 March 2008
7pm

Sonja – det heliga hjärtat

Saturday 29 March 2008
1pm & 3pm

Malmö Gallery Night 2017

Saturday 30 September 2017
6pm-midnight

On view is the exhibition today, tomorrow with works by Hardy Strid.

Please note that we will be closed during the day and remain closed on Sunday 1 October.

OEI Poetry Area: extension #28

Gustav Sjöberg, Karolina Erlingsson, Peder Alexis Olsson and Mårten Björk
Readings, performances, presentations, comments
Wednesday 20 September 2017
7pm

apud by Gustav Sjöberg
EME EMAUTO by Karolina Erlingsson
Efterkrigsmusik by Peder Alexis Olsson

Life takes place in the space between words

Joseph del Pesco
Monday 4 September 2017
7pm

Join us for an evening with curator, writer and publisher Joseph del Pesco, who will read (very) short stories from his forthcoming book, The Museum Took a Few Minutes To Collect Itself, published by Art Metropole in Toronto. He will also give a short presentation, A Thousand to One.

Since 2009 he is Director, and last year became International Director of KADIST (Paris & San Francisco), where he has established a fast-paced program of weekly events that position art as a vehicle for discussion about global, social and political issues, in addition to starting the first residency for international art magazines. Previously he was adjunct curator at Artists Space (NYC), and as an independent curator organised exhibitions, projects and publications at The Berkeley Art Museum and Pacific Film Archive, The San Francisco Museum of Modern Art, Temple Contemporary, CCA Wattis Institute for Contemporary Arts, The Banff Centre, The Yerba Buena Center for the Arts, and the UC Davis Museum among others.

The talk is organised in collaboration with the Critical & Pedagogical Studies programme at Malmö Art Academy.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.


today, tomorrow

Hardy Strid

16 September–26 November 2017
Opening Saturday 16 September 6-9pm

Not so long ago, in a country far up in the northern parts of Europe, a kung fu master wrote down two Chinese characters on a piece of paper. He then translated them into “never always same thing” for his students. This is of course a sketchy translation based on a creative relationship to a limited English vocabulary, but nevertheless and maybe because of this a very precise and telling one. “Always same thing” suggests a constant repetition of the same and “never” a refusal. It resembles change, but stretches beyond that. “Never always same thing” seems to indicate the turning away from a continuous repetition of sameness.

Hardy Strid’s art praxis, throughout his entire career, is definitely something that relates to the phrase above. His work was a perpetual exploration of styles and inspirations, a never ending influx of impressions ranging from international art currents and global politics to local news and everyday dilemmas. He was not afraid of leaving well known grounds to find and explore new territories. He kept looking everywhere, and elsewhere. Within an art context the approach of “never always same thing” places you in a tricky position – you are out on deep waters, to say the least. For Hardy Strid it was never about renewing himself for the sake of it. His work was always triggered by a curious exploration and thus in continuous transformation – a constant reinvention of himself and his art over and over again. Maybe, this was an attempt to escape narrow categorisations and isms, a refusal to be inserted into a square art system. His diverse practice became a critique of the present. Like a pirate, Hardy Strid sailed the seas of the art world moving between islands of expressions, tendencies and ideas, sometimes with and sometimes against the wind.

Today, as yesterday, recognition in the full sense of the word is generally ascribed to the familiar and understandable, while difference is met with questions, at times even suspicion. For Hardy Strid consistency was the total opposite of conformity. He was consistent in his diversity of expression rooted in a restless desire for a tomorrow. Instead of cultivating his artistic legacy or letting strategic career moves guide the outcome of his work, he was on a constant quest that pushed him towards a tomorrow that resonates with our today. A sort of travel in time, if you like. We don’t know much about the future to come or how the art of tomorrow will be like, but why not look at the production of Hardy Strid’s 70 year-long never always same thing artistic approach and be inspired to reimagine the kind of art world we wish to have today, tomorrow.

Epilogue
Hardy Strid (1921-2012) was a Swedish artist based in Halmstad. He studied at the Valand Academy of Arts for Professor Endre Nemes. In the 1960s he was part of the Scandinavian section of the Situationist International, later called Bauhaus Situationiste. In 1975, together with colleague Stefan Thorén, he founded KAF (The General Union of Artists) as an alternative to KRO (Swedish Artists’ National Organisation). He was also part of initiating what later became Teckningsmuseet (The Museum of Drawings) in Laholm.

idag, imorron (today, tomorrow) was the title of an exhibition Hardy Strid did at Galleri 5 Sekler, Stockholm in 1965. The exhibition became controversial, not for anything that was exhibited, but because of its catalogue formulated as an ironical protest.

Our deepest gratitude goes to Peter Johansson, a greater custodian of an artistic oeuvre is rare to find, and to Jean Sellem for all his knowledge and wit.

 

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Hardy Strid, Zon för transit i bägge riktningarna, 1980. Foto/Photo: Lotten Pålsson

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Hardy Strid, Kaleidiskop, 1962. Foto/Photo: Lotten Pålsson

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Hardy Strid, Anemon, 1960. Foto/Photo: Lotten Pålsson

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Hardy Strid, Glasmålaren, 1960. Foto/Photo: Lotten Pålsson

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Hardy Strid, Regnfångare, 1960. Foto/Photo: Lotten Pålsson

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No no no no no no no no no no no no there’s no limit

24 September–26 October 2008
Opening Saturday 24 September 6pm-midnight

Group exhibition with 87 participating artists, offerering an unique opportunity to take a look at what has been produced in Malmoe within the last year (2007/2008) and highlights the importance of artistic production in order to have an interesting and dynamic art scene!

Participating artists:
Majlis Agbeck, Anna Nordquist Andersson, Catrin Andersson, Christian Andersson, Marianne Andersson, Elisabet Apelmo, Åsa Maria Bengtsson, Stine Egeskov Berger, Carin Blücher, Anna Bokström, Carl Boutard, Anna Brag, Anna Bring, Ann Böttcher, Bo Cavefors & Martin Bladh, Helene Edgren, Anna Ekman, Lars Embäck, Rolf Engfelt, Marthe Aune Eriksen, Gunilla Falck, Lisa Fjellman, Luca Frei, Ylva Friberg, Edvard Gran, Mell Gran, Lucia Gustavsson, Patrik Gyllander, Rebecka Hallbert, Mette Hansen, Jan-Anders Hansson, Trond Hugo Haugen, Barbro Hemer, Jens Henricson, Leif Holmstrand, Torsten Hylander, Lena Ignestam, Gabriella Ioannides, Ingegerd Johansson, Michael Johansson, Sofie Josefsson, Jeuno Kim, Viktor Kopp, Mathias Kristersson, Katarina Kvarnsjö, Runo Lagomarsino, Tamara Malmeström de Laval, Axel Lieber, Torbjörn Limé, Marit Lindberg, Anna Ling, Jonas Liveröd, Tuss Marie Lysén, Kari Mjåtveit, Caroline Mårtensson, Annelie Nilsson, Andreas Nordström, Fredrik Norén, Björn O. Olsson, Magnus Ottertun, Helena Persson, Matteo Rosa, Viktor Rosdahl, Lisa Rydberg, Johan Röing, Susann Rönnertz, Anna Sandgren, Gunnar Sandin, Ingrid Sandsborg, Morgan Schagerberg, Nilsmagnus Sköld, Danilo Stankovic, Anna Strand, Johan Sunesson, David Svensson, Joanna Thede, Magnus Thierfelder, Ulrika Thune, Maria Lavman Vetö, Pepe Viňoles, Charlotte Walentin, Peter Wallström, Bjørn Wangen, Fredrik Weerasinghe, Anna Wessman

Participating artists:

Majlis Agbeck, Anna Nordquist Andersson, Catrin Andersson, Christian Andersson, Marianne Andersson, Elisabet Apelmo, Åsa Maria Bengtsson, Stine Egeskov Berger, Carin Blücher, Anna Bokström, Carl Boutard, Anna Brag, Anna Bring, Ann Böttcher, Bo Cavefors & Martin Bladh, Helene Edgren, Anna Ekman, Lars Embäck, Rolf Engfelt, Marthe Aune Eriksen, Gunilla Falck, Lisa Fjellman, Luca Frei, Ylva Friberg, Edvard Gran, Mell Gran, Lucia Gustavsson, Patrik Gyllander, Rebecka Hallbert, Mette Hansen, Jan-Anders Hansson, Trond Hugo Haugen, Barbro Hemer, Jens Henricson, Leif Holmstrand, Torsten Hylander, Lena Ignestam, Gabriella Ioannides, Ingegerd Johansson, Michael Johansson, Sofie Josefsson, Jeuno Kim, Viktor Kopp, Mathias Kristersson, Katarina Kvarnsjö, Runo Lagomarsino, Tamara Malmeström de Laval, Axel Lieber, Torbjörn Limé, Marit Lindberg, Anna Ling, Jonas Liveröd, Tuss Marie Lysén, Kari Mjåtveit, Caroline Mårtensson, Annelie Nilsson, Andreas Nordström, Fredrik Norén, Björn O. Olsson, Magnus Ottertun, Helena Persson, Matteo Rosa, Viktor Rosdahl, Lisa Rydberg, Johan Röing, Susann Rönnertz, Anna Sandgren, Gunnar Sandin, Ingrid Sandsborg, Morgan Schagerberg, Nilsmagnus Sköld, Danilo Stankovic, Anna Strand, Johan Sunesson, David Svensson, Joanna Thede, Magnus Thierfelder, Ulrika Thune, Maria Lavman Vetö, Pepe Viňoles, Charlotte Walentin, Peter Wallström, Bjørn Wangen, Fredrik Weerasinghe, Anna Wessman

What’s in it for you? Plenty! The practice of Sister Corita

12 April–10 May 2008
The exhibition takes place at JET, Berlin
Curated by Signal

With the 2008 exhibition series Adventurers, JET explores various situations where art and life coincide in artistic practice and where aspects of artists’ own lives are woven into their artistic production.

What’s in it for you? Plenty! The practice of Sister Corita is the first exhibition in this series. It focuses on the multifaceted creative practice of the nun, teacher and artist Corita Kent (1918-1986), a practice that in every way exemplifies such deep affinity between art and life. A practicing Catholic nun and teacher, Sister Corita encouraged the creativity of thousands of people at the legendary, progressive art department at Immaculate Heart College in Los Angeles. She is also considered one of the most unusual pop artists of the 1960s, challenging political and religious establishments and experimenting with graphic design and printmaking.What’s in it for you? Plenty! maps out these diverse activities of Sister Corita. It highlights her joyous understanding of art, education, religion and social engagement and emphasizes the ways in which such affirmative perspective is present in all her undertakings. The exhibition displays key publications by and about Sister Corita and photographs from her own archive, alongside Baylis Glascock´s documentary Corita Kent: On Teaching and Celebration and a selection of serigraphs.

Wittingly sampling well-known slogans and images, Sister Corita used the efficient visual language of advertisement and popular culture to transform the commercial and banal into inspiring messages and celebratory exclamations that merge philosophical reflection and a sense of protest against social injustice. Her slogan for the art department at Immaculate Heart College, ‘We have no art, we do everything as well as we can,’ testifies to her conviction that art is not something that stands apart from life, but something that forms a part of our continuous dialogue with the world in which we live. Through her work she shows that optimism can be a subtle yet powerful form of criticality.

 

Bright Leaves

by Ross McElwee
Introduction by Oskar Hallberg
Thursday 8 June 2017
7pm

Bright Leaves (2003), 105 min

Bright Leaves describes a journey taken across the social, economic, and psychological tobacco terrain of North Carolina by Ross McElwee, a native Carolinian whose great-grandfather created the famous brand of tobacco known as “Bull Durham.”

Part mystery, part ethical inquiry, this film is a subjective, autobiographical meditation on the allure of cigarettes and their troubling legacy for the state of North Carolina. It’s about loss and preservation, addiction and denial. And it’s about filmmaking – homemovie, documentary, and fiction filmmaking – as the filmmaker fences with the legacy of an obscure 1950′s Hollywood melodrama, purportedly based on his great-grandfather’s life, starring Gary Cooper.

Oskar’s Gold Nuggets is an ongoing series of film screenings where our neighbor and cineaste Oskar Hallberg from Cinema Panora presents a film in dialogue with the current exhibition on view.

Den unga jorden

Andreas Mangione & Frans Josef Petersson
with the publishing house Den unga jorden
Wednesday 31 May 2017
7pm

Artist Andreas Mangione together with art critic and editor Frans Josef Petersson are the persons behind the publishing house Den unga jorden (The young earth), an art book publisher where the publications seek to trace and in themselves constitute a “walk of resistance”. Andreas Mangione and Frans Josef Petersson are coming to Signal to share the intentions, origins, plans and motifs behind their recently started collaborative publishing project, and introduce their first publication Optimisten (The Optimist), a paperback with works by Andreas Mangione and an afterword by Frans Josef Petersson.

The conversation will be held in Swedish.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.


with wounds of clarity / with wounds of dust

Beatriz Santiago Muñoz, Emil Westman Hertz, and chants by María Sabina

28 April–18 June 2017
Opening Friday 28 April 7-9pm

Gathered at the threshold, sheltered by a row of staves: soldiers, travelers, healers, the convalescent and the sick. On one side, an obscure space. On the other, distant mountains.

Thunder rattles and all direction is reversed. The whistle becomes a whirlwind, becomes a wheel, becomes a wand. A wand summoning opposites.

Angels trumpet knowledges from deep within the marrow – which is sung and sucked and given like offerings of rice. Cellular histories meet with cadmium and lead; fangs are met with hoof and shell; skin is met with thorn.

Oak people, Rain people, Ant people. Dog and Mushroom people. Not the same, yet neither unrelated. Ears tuned to each other’s speech, wounds formed to witness.

Tearing visions from their hearts like flowers on the field of battle, the seers shall remain, undeterred.

with wounds of clarity / with wounds of dust brings together the work of filmmaker Beatriz Santiago Muñoz (1972, Puerto Rico), sculptor Emil Westman Hertz (1978-2016, Denmark), and curandera (or healer) María Sabina (1894-1985, Mexico) on the fragile and porous boundaries between human and non-human worlds.

 

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with wounds of clarity / with wounds of dust, installationsvy/installation view. Foto/Photo: Lotten Pålsson

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Beatriz Santiago Muñoz, Farmacopea, 2013. Foto/Photo: Lotten Pålsson

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with wounds of clarity / with wounds of dust, installationsvy/installation view. Foto/Photo: Lotten Pålsson

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Emil Westman Hertz, Medicinlinje, 2014. Foto/Photo: Lotten Pålsson

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Emil Westman Hertz, Natsygeplejersken, 2016. Foto/Photo: Lotten Pålsson

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Beatriz Santiago Muñoz, Black Beach/Horse/Camp/The Dead/Forces, 2016. Foto/Photo: Lotten Pålsson

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Emil Westman Hertz, Blæksprutte, 2013. Foto/Photo: Lotten Pålsson

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with wounds of clarity / with wounds of dust, installationsvy/installation view. Foto/Photo: Lotten Pålsson

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Emil Westman Hertz, Cause of Action, 2015. Foto/Photo: Lotten Pålsson

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María Sabina, Mushroom Ceremony of the Mazatec Indians of Mexico, 1957. Foto/Photo: Lotten Pålsson

Creative Indifference

Presentation of Raoul Hausmann x 3
Subaltern journal & Eskaton publishing
Monday 3 April 2017
7pm

The journal Subaltern and publisher Eskaton present, in parallel to the recent publication of Raoul Hausmann’s Eccentric Sensoriality and Subaltern #3 and #4 (2016), an evening dedicated to Raoul Hausmann and his circle.

Raoul Hausmann (1886-1971) is best known as the inventor of the photomontage and one of the driving forces behind Berlin DADA, but he was also a poet, philosopher and political theorist who called for a complete transformation of Western civilization, and had close ties to so-called “left communism”. In the two issues of Subaltern, Hausmann’s political and philosophical works are presented alongside kindred thinkers including the Kantian philosopher and lawyer Ernst Marcus, art-theorist Carl Einstein, revolutionary and director Guy Debord, and the expressionist provocateur Salomo Friedländer.

The evening is presented in conjunction with This Event has Now Ended by Vangelis Vlahos, the third chapter of the exhibition trilogy …this is Radio Athènes.


Iaspis informs about residencies and international exchange

Thursday 20 October 2011
5.30pm

Welcome to Signal and a meeting with information about Iaspis and the Swedish Arts Grants Committee´s studio grants and support for international exchange and collaboration. What is the purpose of the grants and the residency programme? What requirements are necessary to receive a grant? Is it possible to initiate and organize projects in collaboration with Iaspis? Iaspis director Lisa Rosendahl and project coordinators Jonatan Habib Engqvist (visual art) and Annika Enqvist (design, architecture and craft) will inform about Iaspis and answer questions.

A small bar will be arranged at Signal after the meeting.

The Forgotten Space

by Allan Sekula & Noël Burch
Thursday 2 March 2017
7pm

The Forgotten Space (2010), 112 min

Our film is about globalization and the sea, the “forgotten space” of our modernity. The sea is forgotten until disaster strikes. But perhaps the biggest seagoing disaster is the global supply chain, which – maybe in a more fundamental way than financial speculation – leads the world economy to the abyss.

The Forgotten Space follows container cargo aboard ships, barges, trains and trucks, listening to workers, engineers, planners, politicians, and those marginalized by the global transport system. We visit displaced farmers and villagers in Holland and Belgium, underpaid truck drivers in Los Angeles, seafarers aboard mega-ships shuttling between Asia and Europe, and factory workers in China, whose low wages are the fragile key to the whole puzzle. And in Bilbao, we discover the most sophisticated expression of the belief that the maritime economy, and the sea itself, is somehow obsolete.

- Allan Sekula & Noël Burch

 

The Forgotten Space is presented in conjunction with the exhibition Two-hander by Rallou Panagiotou.

III. This Event has Now Ended

Vangelis Vlahos

10 March–9 April 2017
Opening Friday 10 March 7-9pm

Chapter 3 of the exhibition trilogy …this is Radio Athènes at Signal.

Three details, three protagonists, three cases: the notes of Euclid Tsakalotos, the current finance minister of Greece; the suitcase of George Koskotas, a former Greek banker; the hat of Ratko Mladic, a former Bosnian Serb military commander currently on trial in The Hague.

Using existing material from the press, state archives and the internet, Vangelis Vlahos engages with the recent history of Greece. In his re-readings and juxtapositions, the grayness of facts transforms into intriguing narratives and timelines revealing a reality juicier than fiction.

This Event has Now Ended is a showcase on how the micro politics of details mirrors the entangled complexities and complicities of global economics and international negotiations. A Beckettesque absurdity unfolds gradually in the third chapter of the exhibition trilogy …this is Radio Athènes.

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Vangelis Vlahos, This Event has Now Ended. Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Vangelis Vlahos, Objects to relate to a trial (Mladic's hat), 2015/The adidas hat and the Russian one, 2015. Foto/Photo: Lotten Pålsson

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Vangelis Vlahos, This Event has Now Ended. Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Vangelis Vlahos, Objects to relate to a trial (3 suitcases, 2 travel bags, a typewriter and one color TV), 2013-2014. Foto/Photo: Lotten Pålsson

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Vangelis Vlahos, Objects to relate to a trial (3 suitcases, 2 travel bags, a typewriter and one color TV), 2013-2014. Foto/Photo: Lotten Pålsson

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Vangelis Vlahos, Tsakalotos' bag, 2017. Foto/Photo: Lotten Pålsson

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Vangelis Vlahos, Tsakalotos' thumb, 2016-2017. Foto/Photo: Lotten Pålsson

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Vangelis Vlahos, Tsakalotos' thumb, 2016-2017. Foto/Photo: Lotten Pålsson

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Vangelis Vlahos, This Event has Now Ended. Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

I. Economy Class

Eleni Bagaki

18 November 2016–29 January 2017
Opening Friday 18 November 7-9pm

Chapter 1 of the exhibition trilogy …this is Radio Athènes at Signal.

As the sequence of autonomous presentations unfolds, facts and fictions derived from the constant and unique interaction of conflicting forces operate at different levels and intensities. A Ryan Air flight hovers between corporeality and intangibility in the first chapter of the exhibition trilogy …this is Radio Athènes.

 

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Stillbild/Still. Foto/Photo: Eleni Bagaki

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Eleni Bagaki, Economy Class, 2016. Stillbild/Still. Foto/Photo: Eleni Bagaki

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Eleni Bagaki, Economy Class, 2016. Stillbild/Still. Foto/Photo: Eleni Bagaki

 

II. Two-hander

Rallou Panagiotou

3 February–5 March 2017
Opening Friday 3 February 7-9pm

Chapter 2 of the exhibition trilogy …this is Radio Athènes at Signal.

If I did spit on something, I just spat on a piece of clothing. I was only showing contempt for this bit of cloth, and a bit of cloth doesn’t demand you settle accounts
Bernard-Marie Koltès, In the Solitude of Cotton Fields, 1985

The Dealer, the Client. The law of repetition, the law of the series. Transactions are negotiated, desires are fabricated, roles are reversed, and treasures are symbolic.

Two-hander, the darker sub-sequence to Kalypso Volume II, troubles the dreams of an erstwhile idyllic holiday resort with a scene of potential exchange. In a staged marketplace, isolation is condensed beyond luxury. A currency of emotions sets the tone in the second chapter of the exhibition trilogy …this is Radio Athènes.

 

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Rallou Panagiotou, Two-hander. Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Two-hander. Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Made-Up Medusa Festive Noir, 2016. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Two-hander. Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Tranquil and Unbroken (Mint), 2017. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Part of Two-hander, 2017. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Acid Neoclassical Storytelling, 2017. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Two-hander, 2017. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Two-hander, 2017. Stillbild/Still. Foto/Photo: Rallou Panagiotou

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Rallou Panagiotou, Kalypso Volume II, 2016. Stillbild/Still. Foto/Photo: Rallou Panagiotou

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Rallou Panagiotou, Kalypso Volume II, 2016. Stillbild/Still. Foto/Photo: Rallou Panagiotou

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Rallou Panagiotou, Kalypso Volume II, 2016. Stillbild/Still. Foto/Photo: Rallou Panagiotou

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Rallou Panagiotou, Kalypso Volume II, 2016. Stillbild/Still. Foto/Photo: Rallou Panagiotou

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Rallou Panagiotou, Kalypso Volume II, 2016. Stillbild/Still. Foto/Photo: Rallou Panagiotou

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Rallou Panagiotou, Kalypso Volume II, 2016. Stillbild/Still. Foto/Photo: Rallou Panagiotou

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Rallou Panagiotou, Kalypso Volume II, 2016. Stillbild/Still. Foto/Photo: Rallou Panagiotou

 

Reminiscences of a Journey to Lithuania

by Jonas Mekas
Introduction by Oskar Hallberg
Tuesday 6 December 2016
7pm

Reminiscences of a Journey to Lithuania (1972), 88 min

A film diary divided into three episodes. After a twenty-seven year absence, Adolfas and his brother Jonas returned to their birthplace in Lithuania. They had left Lithuania as young men, destined for a German labor camp. Now they came home for a visit, Adolfas with his wife, the singer Pola Chapelle.

“The film consists of three parts. The first part is made up of footage I shot with my first Bolex, during my first years in America, mostly from 1950-1953. It shows me and my brother Adolfas, how we looked in those days; miscellaneous footage of immigrants in Brooklyn, picnicking, dancing, singing; the streets of Williamsburg.”

“The second part was shot in August 1971, in Lithuania. Almost all of the footage comes from Semeniskiai, the village I was born in. You see the old house, my mother (born 1887), all the brothers, goofing, celebrating our homecoming. You don’t really see how Lithuania is today: you see it only through the memories of a Displaced Person back home for the first time in twenty-five years.”

“The third part begins with a parenthesis in Elmshorn, a suburb of Hamburg, where we spent a year in a forced labor camp during the war. After the parenthesis closes, we are in Vienna where we see some of my best friends – Peter Kubelka, Hermann Nitsch, Annette Michelson, Ken Jacobs. The film ends with the burning of the Vienna fruit market, August, 1971.”

- Jonas Mekas

 

Oskar’s Gold Nuggets is an ongoing series of film screenings where our neighbor and cineaste Oskar Hallberg from Cinema Panora presents a film in dialogue with the current exhibition on view.

…this is Radio Athènes

Eleni Bagaki, BLESS, Rallou Panagiotou, Vangelis Vlahos

18 November 2016–9 April 2017
Opening Friday 18 November 7-9pm

Responding to an invitation by Signal, Radio Athènes is bringing to Malmö four distinct projects by Eleni Bagaki, BLESS, Rallou Panagiotou and Vangelis Vlahos as well as titles from its library in Athens, Greece assembled by artists, curators and writers we have worked with. Books selected by Darren Bader, Kirsty Bell, Josephine Pryde, Teddy Coste, Thomas Boutoux, Kerstin Cmelka, to name a few, will become part of the Signal library available to peruse in the months to come and in an environment infused with the spirit of BLESS.

As the sequence of autonomous presentations unfolds, I. Economy Class (Eleni Bagaki),
II. Two-Hander (Rallou Panagiotou) and III. This Event has Now Ended (Vangelis Vlahos) facts and fictions derived from the constant and unique interaction of conflicting forces -corporeality and intangibility, exchange and reification, reality and mediation- operate at different levels and intensities.

A Ryan Air flight (Bagaki), a street-seller’s bench (Panagiotou) and the notes of Greece’s finance minister, Euclid Tsakalotos (Vlahos) trigger these presentations, all conceived in 2016.

I. Economy Class, Eleni Bagaki 18 November 2016–29 January 2017
II. Two-Hander, Rallou Panagiotou 3 February–5 March 2017
III. This Event has Now Ended, Vangelis Vlahos 10 March–9 April 2017

Organized by Helena Papadopoulos, founding director of Radio Athènes, institute for the advancement of contemporary visual culture.

**

…this is Radio Athènes follows a series of events under the title Sending a Signal out in the Ether: Live on Radio Athènes, the first part of which took place in October 2016 in Athens.

 

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Eleni Bagaki, Economy Class, 2016. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Two-hander. Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Two-hander. Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Made-Up Medusa Festive Noir, 2016. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Two-hander. Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Tranquil and Unbroken (Mint), 2017. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Part of Two-hander, 2017. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Acid Neoclassical Storytelling, 2017. Foto/Photo: Lotten Pålsson

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Rallou Panagiotou, Two-hander, 2017. Foto/Photo: Lotten Pålsson

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Books from the library of Radio Athènes and environment by BLESS. Foto/Photo: Lotten Pålsson

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Books from the library of Radio Athènes and environment by BLESS. Foto/Photo: Lotten Pålsson

Sending a Signal out in the Ether: Live on Radio Athènes #2

Maybe I’m not the person that I never wanted to be
Thomas Boutoux & Teddy Coste
Saturday 15 & Sunday 16 October 2016
8pm at Radio Athènes

Merging the intimate story-telling aspect of the voice on the radio with the performative quality of bodies sharing this same experience in space Sending a Signal out in the Ether: Live on Radio Athènes sets out on a meandering journey between art, music, dreams, desires, politics and life.

A two-episode radio drama written and performed by Thomas Boutoux and Teddy Coste. It follows a plot and a group of characters from Somewhere, France, on a random year in the early 1990s, to Athens, on the night that preceded this radio show.

Thomas Boutoux is a writer, curator and publisher from Paris.
From 2007 to 2015, he was one of the persons behind castillo/corrales, and he’s now one of the members of the new collective entity Paraguay, Paris.

Teddy Coste is an artist who lives in Lisbon.
In his sculptural and installation work, Coste stresses the adaptability of the art object as a carrier of alternative stories and anecdotes.

Radio Athènes, institute for the advancement of contemporary visual culture, is a book project, a showroom, an exhibition space and a curatorial practice. Flexible, independent, nomadic, interdisciplinary, Radio Athènes works together with local and international artists and institutions to present exhibitions, lectures, screenings and readings in the fields of contemporary art, literature, philosophy, dance and the applied arts.

**

Thomas Boutoux & Teddy Coste on Radio Athènes:
Maybe I’m not the person that I never wanted to be_Part 1

Thomas Boutoux & Teddy Coste on Radio Athènes:
Maybe i’m not the person that I never wanted to be_Part 2

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Foto/Photo: Magnus Thierfelder

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Foto/Photo: Magnus Thierfelder

Sending a Signal out in the Ether: Live on Radio Athènes #1

If loving you is wrong, I don’t wanna be right…
Kerstin Cmelka
Friday 14 October 2016
8pm at Radio Athènes

Merging the intimate story-telling aspect of the voice on the radio with the performative quality of bodies sharing this same experience in space Sending a Signal out in the Ether: Live on Radio Athènes sets out on a meandering journey between art, music, dreams, desires, politics and life.

Artist and occasional radio-host Kerstin Cmelka will perform a live DJ set and radio broadcast, exploring female emotional desires and their attempts of expression in pop music.

Cmelka’s practice spans from her early experimental films through photographic reworkings of film stills, ad images, and production shots to her performances—known as “microdramas”—which act as reflexive commentaries on the poles of art and life by blurring the line dividing staging from reality. Her recent work is titled The Animals (2016) — an 81 min art feature film on the insular experience and work of the performer.

Radio Athènes, institute for the advancement of contemporary visual culture, is a book project, a showroom, an exhibition space and a curatorial practice. Flexible, independent, nomadic, interdisciplinary, Radio Athènes works together with local and international artists and institutions to present exhibitions, lectures, screenings and readings in the fields of contemporary art, literature, philosophy, dance and the applied arts.

**

Kerstin Cmelka on Radio Athènes: If loving is wrong, I don’t wanna be right…

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Malmö Gallery Night 2016

Saturday 24 September 2016
6pm-midnight

On view is the exhibition c̶o̶n̶s̶e̶n̶s̶u̶s̶̶ with works by Katinka Bock, Dana DeGiulio, and Raha Raissnia.

Please note that we will be closed during the day and remain closed on Sunday 25 September.

Alog

Wednesday 24 May 2000
7pm

Make it Happen

Saturday 23 September 2000
7pm

Simon Starling

Wednesday 10 May 2000
7pm

Frotté Factory

Tone Hansen & Marit Paasche
Wednesday 27 September
7pm

Hans T Sternudd

Tuesday 10 October 2000
7pm

Göran Christenson

Wednesday 8 November 2000
7pm

Clémentine Deliss

Friday 10 November 2000
7pm

Natalie Melikian

Wednesday 15 November 2000
7pm

Ballongmagasinet

Tuesday 8 May 2001
7pm

Lisebeth Bik & Jos van der Pol

Thursday 15 February 2001
7pm

Torbjörn Limé

Wednesday 25 April 2001
7pm

Gitte Villesen

Sunday 29 April 2001
7pm

Charles Esche

Wednesday 2 May 2001
7pm

Luis M. Alonzo-Barkigia

Monday 7 May 2001
7pm

Rirkrit Tiravanija

Tuesday 27 November 2001
7pm

Jacob Fabricius

Thursday 29 November 2001
7pm

Apolonija Sustersic

Tuesday 15 October 2002
7pm

c̶o̶n̶s̶e̶n̶s̶u̶s̶̶

Katinka Bock, Dana DeGiulio,
Raha Raissnia

16 September–6 November 2016
Opening Friday 16 September 7-9pm

1.A
A multitude of voices, a plurality of bodies.
An assemblage of exchanged goods surpasses the literal economy of the marketplace in favor of a stuttering and stumbling mode of communication; the traces of actions and transactions. Sweeping and erratic bodily movements capture their surroundings on film. Image and sound compose an ode to the margin; the outskirts of our sight. Insufficient (political) speech is caught between bodies and language; medusa’s gaze is petrifying, turns everything into stone.
Consensus struck through is a dense layering of voices. Like verlan, it is language that adapts and defies at the same time. It articulates dissonance, not consonance, and keeps matters as composite as they really are.

1.B
held between two words, something given and something refused. disavowing what is normally avowed – spurning what is offered and claiming what is not. traces are fugitive, fleeing capture and improvising forms of shelter: safe havens for what escapes. traces, too, can be excessive, commoning in sense to the rhythms of a great disorder. in twin orbits, broken windows intersect with mutual aid. images are shot on phones. listen: “it’s a life thing.” shit is upside down.

1.C
It feels – literally – like I’m being pushed around –  into the corners and up against the walls of the room. I’m bouncing! I try to find a protected position, to get an overview – an objective perspective, a comfortable place to start from. But all attempts fail. My eyes wander. I desperately try and read the elements that surround me – that confront me! I fail because of my bad position. I’m left here on my own. In my body, surrounded by objects, signs, sounds and moving images – urging me to make sense, pushing me from all directions – I feel dizzy. I lose my balance and almost step on one of the copper plates on the floor. I stumble and make a guttural sound. And then I become silent. Still. I take a deep breath and begin to focus on my feet against the floor, on my footsteps, on my breathing. I slow down and let my whole body relate to the space and everything that surrounds me. I use all my senses. I relax and slowly begin to perceive everything from a new horizon.

1.D
Bodies are flashing by. They appear as jarring moments in a street, as rifts in a collage, as figures in a room that is also a stage. They are swarming, like intersecting layers of the same reality.
The body is its own, yet never alone. It is jostling and merging with everything that surrounds it: the other, objects and structures, both visible and invisible. The bodies share an elusiveness, but also a realness, as if volatility were at their core. What we are left with are traces of that which is constantly taking place but in the end always escapes us.

 

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c̶o̶n̶s̶e̶n̶s̶u̶s̶. Foto/Photo: Lotten Pålsson

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Katinka Bock, Zarba Lonsa, Boudoir, 2015. Foto/Photo: Lotten Pålsson

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Katinka Bock, Zarba Lonsa, Boudoir, 2015. Foto/Photo: Lotten Pålsson

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Raha Raissnia, Longing, 2015. Foto/Photo: Lotten Pålsson

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Dana DeGiulio, Syntax for Queen Lear, 2016. Foto/Photo: Lotten Pålsson

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Dana DeGiulio, Syntax for Queen Lear, 2016. Foto/Photo: Lotten Pålsson

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Dana DeGiulio, Syntax for Queen Lear, 2016. Foto/Photo: Lotten Pålsson

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Dana DeGiulio, Syntax for Queen Lear, 2016. Detalj/detail. Foto/Photo: Lotten Pålsson

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Dana DeGiulio, Syntax for Queen Lear, 2016. Detalj/detail. Foto/Photo: Lotten Pålsson

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Dana DeGiulio, Syntax for Queen Lear, 2016. Detalj/detail. Foto/Photo: Lotten Pålsson

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Dana DeGiulio, Syntax for Queen Lear, 2016. Detalj/detail. Foto/Photo: Lotten Pålsson

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Dana DeGiulio, Syntax for Queen Lear, 2016. Detalj/detail. Foto/Photo: Lotten Pålsson

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Katinka Bock, Zarba Lonsa, Franka, 2015. Foto/Photo: Lotten Pålsson

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Katinka Bock, Zarba Lonsa, Melto Porto, 2015. Foto/Photo: Lotten Pålsson

Digital Distress – Consumed by Infinity

Kah Bee Chow, Andreas Kurtsson, Alexandra Lerman, Adriana Ramić

8 December 2017–25 March 2018
Opening Friday 8 December 7-9pm

This could be an example of AI generated concrete poetry, or how digitalization appears in the augmented reality of our everyday lives. The interface between cloud and body, hardware and soul.

 

                                                       Ghosting
                                                                               iPhone elbow
                                        Infinite scrolling          Phygital
                                                                           Facial puppetry     Swype 

                Street view
                            Biometrics       Machine learning
                                                                         Google translate                      iRobot   GDPR
 Vaporwave                                Phishing                                              Skeuomorph

Filter bubble                                        eSports                                                 i-Frame destruction
                   Super-hybridity               Datamosh       Brain-machine interface       Videoglitch
              Facial recognition                        ASMR
                                         #Additivism                     Content-Aware Fill                        Fake news
          Copypasta     Shitposting   TIL     NSFW        Chatbot
                                                                                              Hypernormalisation
                       Post-digital                            Off-the-grid

 

 

Kah Bee Chow
Two furry robotic vacuum cleaners perform an intricate choreography – part household chores, part improvised couple dancing – in an algorithmic balance between technical aid and pet-like behavior.

Andreas Kurtsson
A fictionalized travel journal from a trip to Facebook’s semi-secret datacenter in Luleå. High technology and primeval forest live side by side in two parallel feeds.

Alexandra Lerman
The patented and copyrighted system of Apple Inc.’s and Google LLC’s touchscreen gestures as raw material. The contemporary body language of “pinches”, “scrolls” and “slides” shared by everyone, everywhere, everyday.

Adriana Ramić
Ant pathways are traced onto a Swype keyboard which interprets fingertip swipes into text in any of the 71 languages supported by its patented technology. The effects of technology on human language seen through insect behavior.

 

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Digital Distress – Consumed by Infinity, installationsvy/installation view. Foto/Photo: Lotten Pålsson

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Digital Distress – Consumed by Infinity, installationsvy/installation view. Foto/Photo: Lotten Pålsson

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Adriana Ramić, The Return Trip is Never the Same, 2014-. Foto/Photo: Lotten Pålsson

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Adriana Ramić, The Return Trip is Never the Same, 2014-. Foto/Photo: Lotten Pålsson

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Kah Bee Chow, ELSIE & ELMER, 2017. Foto/Photo: Lotten Pålsson

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Kah Bee Chow, ELSIE, 2017. Foto/Photo: Lotten Pålsson

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Adriana Ramić, The Return Trip is Never the Same, 2014-. Detalj/detail. Foto/Photo: Lotten Pålsson

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Adriana Ramić, The Return Trip is Never the Same, 2014-. Detalj/detail. Foto/Photo: Lotten Pålsson

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Alexandra Lerman, Release, 2017. Foto/Photo: Lotten Pålsson

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Alexandra Lerman, Release, 2017. Foto/Photo: Lotten Pålsson

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Alexandra Lerman, Release, 2017. Detalj/detail. Foto/Photo: Lotten Pålsson

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Alexandra Lerman, Release, 2017. Detalj/detail. Foto/Photo: Lotten Pålsson

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Alexandra Lerman, Release, 2017. Detalj/detail. Foto/Photo: Lotten Pålsson

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Alexandra Lerman, Release, 2017. Detalj/detail. Foto/Photo: Lotten Pålsson

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Alexandra Lerman, Release, 2017. Detalj/detail. Foto/Photo: Lotten Pålsson

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Alexandra Lerman, Manu Dei, 2017. Foto/Photo: Lotten Pålsson

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Andreas Kurtsson, Speculative Feed, 2017. Foto/Photo: Lotten Pålsson

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Andreas Kurtsson, Speculative Feed, 2017. Foto/Photo: Lotten Pålsson

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Andreas Kurtsson, Speculative Feed, 2017. Stillbild/Still. Foto/Photo: Andreas Kurtsson

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Andreas Kurtsson, Speculative Feed, 2017. Stillbild/Still. Foto/Photo: Andreas Kurtsson

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Andreas Kurtsson, Speculative Feed, 2017. Stillbild/Still. Foto/Photo: Andreas Kurtsson

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Andreas Kurtsson, Speculative Feed, 2017. Stillbild/Still. Foto/Photo: Andreas Kurtsson

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Andreas Kurtsson, Speculative Feed, 2017. Stillbild/Still. Foto/Photo: Andreas Kurtsson

Morten Søndergaard

Wednesday 23 November 2005
6pm

 

OPEN

Critique meeting at Signal
17–18 April 2007

OPEN is a critique and discussion forum for professional artists initiated by the artists Anna Henriksson and Kamilla Levring. OPEN invites artists to present and discuss their work and/or their working process with and among peers.

The OPEN Critique meeting includes one hour of individual presentation/discussion for each participant. Maximum 8 participants, there will be no audience besides the participants.

Tuesday
6pm-10pm: We present ourselves and set the schedule for the individual presentations followed by discussion

Wednesday
6pm-8 pm: Individual presentations followed by discussion
8pm-9pm: Evaluation

OPEN Bar at 9pm Wednesday 18 April 2007
On Wednesday we conclude with a drink at Retro across the street from Signal. This meeting is open for all who are curious about OPEN. Welcome!

OPEN is not a place, it is an attitude towards discussion, art and collegues. OPEN offers a feasible way to progress on an individual level and in the professional life as an artist. OPEN is built on common needs and provides talks and meetings about artistic processes, contemporary society and economic issues.

Evening Salon at Signal

29 March–24 April 2007

The Evening Salon presents a series of events with performance / dance / lectures / poetry / film during five weeks in March-April. The Evening Salon borrows elements from various forms of public gatherings like the literary salons of the 18th century, the town hall meeting and Speaker’s Corner to bring forward a number of means of expression and different strategies of how to make one’s voice heard.

29 March at 7pm
Edda Manga (Researcher in History of Science and Ideas at Uppsala University)

4 April at 7pm
Rani Nair, dancer & choreographer (performance- work in progress)

10 April at 7pm
Jeremiah Day, artist (performance)

12 April at 7pm
RåFILM (VJ session)
An evening on film as weapon.

19 April at 7pm
Johannes Anyuru, poet (lecture/poetry reading)
Johannes Anyuru was first published in 2003 with his collection of poems entitled Only the gods are new, using the Iliad as a frame for his portrayal of contemporary Sweden. At the Evening Salon Johannes Anyuru departs from the novel he is currently working on entitled The tears of the cities, which deals with the tools, money and the walls and doors of houses, with the birth of writing as an economical system in the ancient Sumer, where Iraq lies today. Borders, cavities, emptiness, war, state of emergency, sovereignty. How we measure time with clocks and calendars, and every year we dance below the rockets and recreate power from chaos. It deals with what is possible to say and if there is any dignity, or rather maybe any values.

Johannes Anyuru (born 1979) is based in Gothenburg.

24 April at 7pm
Ida Börjel, Pär Thörn, Andrzej Tichý (Reading)
A litterary evening with Ida Börjel, Andrzej Tichý, Pär Thörn, Gustaf Fröding, Patrik Ourednik, Hertha Müller, Anne Carson, Anonymous, Michel Foucault, Mircea Cartarescu, Nils Holmberg, Enver Hoxha and Erik Beckman.

Four formats and a space: Curating at Kunstverein München

Maria Lind & Sören Grammel
Friday 6 September 2002
7pm

hands-on utopias

Ola Gustavsson, Unnar Örn
10–13 April 2003

Egill S and the Mammoths

Friday 30 May 2003
7pm

Barbara Wien

Wednesday 15 January 2003
7pm

Harrell Fletcher

Sunday 30 March 2003
6pm

”For the past seven years I have worked collaborativelly and individually on interdisciplinary, site-specific projects exploring the dynamics of social spaces and communities. My approach is to first understand a site’s physical and social characteristic, and then to create work which illuminates compelling aspects of that site. Because I work with diverse non-art related populations and individuals, inherently my audience expands beyond the art world.” Harrell Fletcher

The artist Harrell Fletcher (US) will come to Malmö in October 2003 to make a project at Signal. He is invited by Axel Lieber and this collaboration is generously supported by IASPIS. In connection to his first visit in Malmö, Harrell Fletcher will talk about his work on Sunday the 30th of March at 6:00 pm.

 

Lars Bang Larsen

Tuesday 18 November 2003
7pm

Signal has invited the danish curator and art critic Lars Bang Larsen to hold a lecture. Lars Bang Larsen has recently been curating The Echo Show at Tramway in Glasgow together with Soren Andreasen. “Inspired by dub reggae’s use of feedback and the ways in which psychedelic art dramatised pictorial elements as pulsations of form, The Echo Show explores the impure moments when art opens up to external events that have repercussions on it and forces it to improvise.”

He has also been curating the exhibition Fundamentalists of the New Order together with Charlotte Brandt and Cristina Ricupero at Charlottenborg in Copenhagen late 2002.

Lars Bang Larsen is active as a critic and writer, and released the book “Sture Johanesson. About the 1960s and ’70 psychedelic art of Sture Johanesson” last year. He has also been writing for Nu:The Nordic Art Review, Art/Text, Los Angeles and the danish newspaper Politiken.

 

Fata Morgana – Between Belief and Illusion

Vita Zaman and Magnus Edensvärd
Tuesday 16 December 2003
7pm

Lecture by Vita Zaman and Magnus Edensvärd, directors of IBID projects, Vilnius/London.

Gratis Design (Fredrik Holmqvist & Peter Thörneby)

2–24 September 2000
Opening Saturday 2 September

Artist talk

Maryam Jafri and Alex Villar
Moderator: Simon Sheikh
Sunday 4 april 2004
5pm

Signal has invited the writer and curator Simon Sheikh for a discussion with Maryam Jafri and Alex Villar in relation to the exhibition Tropes and Tresholds.

 

Johanna Billing

Thursday 22 January 2004
7pm

Lise Nelleman

Tuesday 7 December 2004
7pm

 

Examples of extreme enthusiasm: How science-fiction-fans construct reality

Claus Richter
Sunday 8 February 2004
4pm

Claus Richter (artist based in Frankfurt) has been invited by Michael Beutler to hold a lecture.

Richter will talk about fandom and the influenc that fiction can have on reality. Some Science-Fiction-Film-Fans tend to recreate the surroundings, costumes and props from their favourite films. Through these fan-reconstructions, primarily fictious settings become part of a consensual “real world” to a certain degree. Learn how to build Stormtrooper-Uniforms, a lifesize starship or a whole new world.

Julie Ault

Tuesday 30 November 2004
7pm

The Time Falling Bodies Take to Light

Tommy Olsson & Elin T. Sørensen

12 May–3 June 2001
Opening Saturday 12 May

Kvällskurserna / Aftenskolen

Tone O Nielsen & Morten Goll

31 August–22 September 2001
Opening Friday 31 August

the diffracted dash

Publication release and reading
Minia Biabiany and Imri Sandström
Friday 17 June 2016
6.30pm and onwards

“(Bindestrecket i all-männing är en vild rot som tvingar en över randen. En försvunnen rot, som håller en på plats.)”

“(le trait d’union des lieux-communs est une racine folle, qui vous pousse par-delà les lisères. Une racine en-allée, qui vous maintient au lieu.)”

the diffracted dash is a collaboration between Minia Biabiany and Imri Sandström. It started as a sharing around the book Philosophie de la Relation – poésie en étendue by Édouard Glissant, and its Swedish translation, Relationens filosofi – Omfångets poesi. Talking back and forth through these texts and languages continuously opened up different meanings and connections. This scattering and linking of variations and details formed a conversation on language, translation, colonization, opacity and traces. Parts of this conversation have taken the shape of a risograph publication that will be presented during the evening.

A reading of the diffracted dash will take place in conjunction with the closing of the exhibition Spelling by Minia Biabiany, and as a satellite to the artistic research project of Imri Sandström entitled Howe Across Reading – Performing the Past.

Doors open at 6.30pm
Reading starts at 7pm
There will be drinks and Luca’s halloumi on the grill from 7.30pm and onwards.
Come and join us for a season finale under the stars!


SaMaPaSa

Lars Siltberg

28 November–20 December 1998
Opening Saturday 28 November

Astrid Svangren

28 November–20 December 1998
Opening Saturday 28 November

On a kind of cosmic level

Paula Wallmark-Nilsson

31 October–22 November 1998
Opening Saturday 31 October

Sven Nilsson

31 October–22 November 1998
Opening Saturday 31 October

Picture of a state of mind

Mats Andersson

10–25 October 1998
Opening Saturday 10 October

Gryningen

Morgan Schagerberg

24–28 November 1999
Opening Wednesday 24 November

David Svensson

1–26 September 1999
Opening Wednesday 1 September

Simon Starling

1–26 September 1999
Opening Wednesday 1 September

Marika Bredler

8–30 May 1999
Opening Saturday 8 May

Den första sången av sju / Jag är så glad att ni alla är här

Annika Ström

13 March–3 April 1999
Opening Saturday 13 March

A massive introduction to another way of loving

Andreas Korsár & Henrik Persson

13 March–3 April 1999
Opening Saturday 13 March

Malin Bogholt

13 February–7 March 1999
Opening Saturday 13 February

Mats Adelman

13 February–7 March 1999
Opening Saturday 13 February

Åsa Sonjasdotter

16 January–7 February 1999
Opening Saturday 16 January

Library Surf

Lise Harlev

16 January–7 February 1999
Opening Saturday 16 January

No Home Movie

by Chantal Akerman
Introduction by Oskar Hallberg
Thursday 9 June 2016
7pm

No Home Movie (2015), 115 min

“This film is above all about my mother, my mother who is no longer with us. About this woman who arrived in Belgium in 1938, fleeing Poland, the pogroms and the violence. This woman who is only ever seen inside her apartment. An apartment in Brussels. A film about a world in motion that my mother does not see.”

- Chantal Akerman

 

Oskar’s Gold Nuggets is an ongoing series of film screenings where our neighbor and cineaste Oskar Hallberg from Cinema Panora presents a film in dialogue with the current exhibition on view.

Ny i stan

Joachim Carlson, Charlotte Eliasson, Daniel Ferdman, Johan Frid, Åse Frid, Unni Gjertsen, Mette Hansen, Ronny Hansson, Tatiana Jensen, Ingegerd Johanson, Jone Kvie, Kristina Matousch, Vegar Moen, Tommy Olsson, Peter Persson, Carola Priedite, Morgan Schagerberg, Monix Sjölin, Karin Solberg, Anders Stolt, Johan Sunesson, Petrus Vavami

Saturday 9 December 2000
7-11pm

Dave Allen, Jonathan Monk

4–26 November 2000
Opening Saturday 4 November

Slow

Jo Torkel Fenne, Berit Henning, Lotte Konow Lund, Sofie Persvik, Beathe C. Rönning

Curated by Frotté Factory

30 September–22 October 2000
Opening Saturday 30 September

Lars Blomqvist, Magnus Ottertun, Lisa Torell

10 March–2 April 2000
Opening Friday 10 March

Pure et Dure

Ann Böttcher, Kajsa Dahlberg, Tova Mozard & Ylva Westerlund

8 December 2001–13 January 2002
Opening Saturday 8 December

Alan Currall

3 March–1 April 2001
Opening Saturday 3 March

Not Only Printed Matters

Karl Holmqvist, Dieter Roth, Peter Thörneby

29 November 2002–26 January 2003
Opening Friday 29 November

Cambio de Lugar_Change of Place

Andrea Geyer & Sharon Hayes

31 May–16 June 2002
Opening Friday 31 May

Viktor Kopp

19 January–10 February 2002
Opening Saturday 19 January

Slaves and free black in the court of justice at Swedish Saint Barthélemy

Fredrik Thomasson
Wednesday 15 June 2016
7pm

Sweden became a slave nation with the takeover of the Caribbean island Saint Barthélemy in 1785. Serfdom had been abolished in 1335 and as Swedish law did not regulate slavery a version of the French slave laws, the Code noir – the black law – was introduced in 1787.

Fredrik Thomasson, historian at Uppsala University, will share with us his research on the justice system in the colony. He especially focuses on how the enslaved and free black population was treated and punished by the Swedish court. This almost century long colonial period (1785–1878) has been overlooked in Swedish historiography, and reasons for this amnesia will be discussed.

The talk will be held in English.


In Sweden, As In The Rest Of The World, It’s Time To Reread Summerhill

Harrell Fletcher

24 October–16 November 2003
Opening Friday 25 October

Jag är inte ensam i universum

Catti Brandelius/Miss Universum

5 September–5 October 2003
Opening Friday 5 September

David Sherry, Clare Stephenson, Anders Stolt

26 April–18 May 2003
Opening Saturday 26 April

Mary Beth Edelson

Saturday 12 August
2pm at Malmö Art Museum

The artist Mary Beth Edelson will talk about her artistic practice and method in connection to the exhibition A Well Lived Life, a retrospective at the Malmö Art Museum which spans 30 years of issues and activism.

In addition Edelson will present and talk about the idea of a flexible international artists’ contract that is in the process of being formed, and begins with a survey of artists’ conditions.

The talk will be held in English.

Catrin Andersson, Kajsa Dahlberg, Christian Hillesø, Tova Mozard

21 February–16 March 2003
Opening Saturday 21 February

Can Altay, Petra Bauer & Annette Krauss, New Beginings

15 May–13 June 2004
Opening Saturday 15 May

Signal ends its spring season with a group show featuring Can Altay, PetraBauer & Annette Krauss and New Beginings.

The exhibition takes as its starting point different ways of working in (with) public space. The debate surrounding where the line is drawn between the public and the private, how public spaces have become ever more commercialised, and the ways in which these structures lead to people developing new ”spaces” or relationships to the existing architecture are all central questions for the artists.

The work Minibar by Can Altay effectively documents the ”non-places” in central Ankara, Turkey, that local youths use as makeshift bars where they can socialise in the evenings. The minibars spring up in places where the surrounding architecture has inadvertently created an environment for sitting and setting down drinks.

Petra Bauer and Annette Krauss have for a longer time been collecting stories that are presented in a publication entitled In search of a toolfor subversive actions in everyday life. The stories are about people trying to cope with various everyday situations, navigate their way through existing structures or even use them to their own advantage. The work poses questions such as when and in which way an action is considered subversive.

The artist group New Beginings has been working at breaking down existing structures in the public space for several years now. Their actions range from the public placement of comfortable park-benches to radio transmissions. At Signal they will be presenting a sustainable cycle based on potatoes* as raw material.

*Early Puritan is a variety of potato

Tropes and Tresholds

Maryam Jafri and Alex Villar

2 April–2 May 2004
Opening Friday 2 April

Signal continues its spring season with the exhibition Tropes and Tresholds by New York based artists Maryam Jafri and Alex Villar. This exhibition will bring together for the first time the video work of two artists whose practices both intersect and collide.

Jafri focuses on questions of gender and language whereas Villar interrogates spatial structures that influence everday behaviour. Jafri´s stagings of the psyche, elaborating on gender identity, the relation between speech and thought, counterpose Villar´s incongruent positioning of the body in situations that expose the instrumental logic in the design of public spaces. A substantial commonality is perceived in the tactical use of performative strategies which question the regulating codes dominant in contemporary society.

 

Michael Beutler

6 February–7 March 2005
Opening Friday 6 February

Signal is opening the new season with an exhibition with Berlin based artist Michael Beutler (1976).

In his practice Michael Beutler is interested in conceptualising the relationship between the process of production and the quality-use of materials. In his playful method, Beutler also questions issues of standardisation of production. By building his own structures from common building materials as well as still-somehow-useable leftovers from the street, his method takes on a do-it -yourself strategy. In the logic of production he often constructs devices to rationalise the connection between given resources and the final object. These devices operate as helping tools which also provide the possibility to involve more people in the process of realisation of the work.

Beutler’s sculptural interventions can be seen as a materialisation of his dialogue with the given architecture. Most of the work is improvised on spot, the ideas of the final object change with the development of an appropriate material and vice versa.

Although a recent graduate from the Städelschule, Frankfurt, Beutler’s work has been exhibited at the Secession, Vienna, Galerie Michael Neff, Frankfurt, Galerie Barbara Wien, Berlin, Kunstverein München, the “Frieze Art Fair, “Utopia Station Sindelfingen” Sindelfingen, “Was ist in meiner Wohnung, wenn ich nicht da bin?” Berlin.

Get Real

Tommy Ericsson

10–25 October 1998
Opening Saturday 10 October

SweDe

Johanna Billing, Markus Degerman, Ingrid Eriksson, Peter Geschwind, Carina Gunnars, Erla Haraldsdottir, Karin Johnsson, Anna Kindgren, Gunilla Klingberg, Bo Melin, Bella Rune, Christine Ödlund

10 April–2 May 1999
Opening Saturday 10 April

Last Virgin on the Left

Johannes Kahrs

4 February–5 March 2000
Opening Friday 4 February

Talk to Me

Boris Achour, Lenka Clayton, Edvard Gran

20 January–18 February 2001
Opening Saturday 20 January

Das Schwedenhaus

Per Hasselberg

12 October–10 November 2002
Opening Saturday 12 October

Spelling

Minia Biabiany

29 April–19 June 2016
Opening Friday 29 April 7-9pm

A beginning. To open, to introduce.

An artist is invited to live and work in our city for three months. We call it a residency. It is an open invitation, extended in the spirit of mutual curiosity and trust. It is an invitation to work together and allow the process to find its own pace. Together we decide to think and treat the exhibition as unfixed time – alive and changing over the days and weeks to come. Or maybe, as an archipelago – like islands belonging to the space, connected by water in constant motion.

The artist is Minia Biabiany. Her spatial compositions perform a visual vocabulary that weaves together her concerns on a Caribbean present formed by our shared History. Through repetition – as a way of rethinking – and aggregation – as a way of composing – a map of our creolized world slowly emerges. It is based on connecting points marked by violence, silencing strategies, and legacies of resistance. A recurrent questioning of place accompanies every layer in this texture.

We imagine the exhibition as a visual and rhythmical movement beginning with an initial spatial articulation, like the first carefully selected words in a sentence formulated by an archipelagic thinking. An understanding that a single island can not be fully grasped without a sense of its relationship to the whole. Like an evolving and unfolding sentence that will be erased, re-formulated and recomposed again, some meanings will shift, while others will escape us; some will reappear, others still will leave only traces. An ignored colonial past is resurfacing weaving a relation between distant geographical points, and moments in time. The linear, sequential order of syntax is fragmented.

Slowly and firmly, we allow time to be fluid and resist a constricting structure.
We invite you to share this time with us.

 

Minia Biabiany holds an Iaspis residency in Malmö hosted by Signal during 1 April–30 June 2016.

 

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Stillbild/Still. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Stillbild/Still. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Stillbild/Still. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Stillbild/Still. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Stillbild/Still. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Stillbild/Still. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Stillbild/Still. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Stillbild/Still. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Stillbild/Still. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Stillbild/Still. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Stillbild/Still. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Stillbild/Still. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Foto/Photo: Minia Biabiany

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

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Minia Biabiany, Spelling. Foto/Photo: Lotten Pålsson

An Injury to One

by Travis Wilkerson
Introduction by Oskar Hallberg
Tuesday 12 April 2016
7pm

An Injury to One (2002), 53 min

An Injury to One reconstructs the unsolved murder of union organizer Frank Little in Butte, Montana, and provides a corrective—and absolutely compelling—glimpse of a particularly volatile moment in early 20th century American labor history. Archival footage mixes with deftly deployed intertitles, while the lyrics to traditional mining songs are accompanied by music from Will Oldham, Jim O’Rourke, and the band Low, producing an appropriately moody, effulgent, and strangely out-of-time soundtrack.

 

Oskar’s Gold Nuggets is an ongoing series of film screenings where our neighbor and cineaste Oskar Hallberg from Cinema Panora presents a film in dialogue with the current exhibition on view.

The Image and the machine: a cultural inquiry into contemporary forms of perception

Lila Lee-Morrison
Thursday 7 April 2016
7pm

Contemporary applications of machine vision involve processes that often, obscure human perception, whether through bureaucratic procedures of blacking out information as in the case of drone warfare or through the mathematical abstractions of perceptual algorithms as found in biometrics. This talk will be a presentation on contemporary shifts in visual syntaxes, which result from a reliance on machines to do the work of seeing and interpreting. What aesthetic processes occur when the scope of machine vision is turned back towards us, that is, the human figure? How do these processes inform the social and political conditions of the information age? Through a historical perspective of the role of the image at the intersection of art, science and the military industrial complex, Lila Lee-Morrison will present an introduction to her on-going research into the cultural implications of machine vision. Her analysis includes the work of both artists and theorists who have articulated and confronted these shifts in perception, including Francis Galton, Harun Farocki, Trevor Paglen, Hito Steyerl, the collaborative group, Forensic Architecture and Thomas Ruff.

Lila Lee-Morrison is currently a PhD student at the Div. of Art History and Visual Studies at Lund University. She moved to Malmö, Sweden from New York, NY five years ago, to escape a life of pixel-pushing, working as a digital retoucher and now embraces the opportunity to write about it, amongst other curiosities, instead.

The talk will be held in English.


Under the full moon

Shadow Play Performance
Tuesday 20 May 2008
9pm

In connection to the exhibition To Square Light we are pleased to invite you to an evening of shadow play performances under the full moon. 12 artists and one poet have been invited to produce a shadow play each that will be performed starting at 9pm or as soon as it’s dark. The shadow plays will be shown through the windows of Signal and out onto the parking lot – bring warm clothes!

Participating artists:
Lars Brunström and Anna Ekman, Lucia Gustavsson, David Krantz, Trygve Luktvasslimo, Lisa Nyberg and Stina Nyberg, Madelene Oldeman, Peder Alexis Olsson, Morgan Schagerberg, Sofia Sundberg, Matteo Rosa, Susann Rönnertz, Helena Wikestam.

Natasa Petresin

Monday 7 March 2005
7pm

Natasa Petresin, curator based in Ljubljana, Slovenia, will talk about her practice in relation to the art scene in Slovenia and her experience from working with the experimental and activist art group Zavod Projekt Atol. Natasa Petresin was also involved in the curating, funding and management of the sound art series Re-lax and founder of the music label and music publishing series rx:tx.

While Waiting. Malmö-Manchester / Melbourne-Montevideo

Nikos Papastergiadis and Carlos Capelan
Thursday 19 May 2005
7pm

 

The Archive

Matthew Buckingham
Tuesday 18 October 2005
7pm

Matthew Buckingham is an artist living in New York and Berlin. Utilizing photography, film, video, audio, writing and drawing, his work questions the role that social memory plays in contemporary life. Buckingham examines dynamic connections between the present and past while scrutinizing the power and effects of images and narration. His installations and interventions create spatial and social contexts that encourage viewers to question the familiar.

Recent projects investigate the “creative destruction” of the city of St. Louis; the Indigenous people of the Hudson River Valley; and the genesis of the first dictionary of the English language. His work has been seen at Arc/Musée d´art moderne de la Ville de Paris; The Arnolfini, Bristol; Corcoran Gallery of Art, Washington DC; KunstWerke, Berlin; Kunstmuseum, Luzern; Museum Moderner Kunst, Vienna; The Museum of Modern Art, New York; P.S.1 Contemporary Art Center, New York; Westfälischer Kunstverein, Münster and The Whitney Museum for American Art, New York.

The lecture will be held in English.

Rudi Laermans

Tuesday 25 October 2005
7pm

 

Perpetual Memory

Esther Shalev-Gerz
Thursday 27 October 2005
8pm

Based in Paris, Esther Shalev-Gerz is internationally recognised for her seminal contributions to the field of art in the public realm and her consistent investigation into the nature of democracy, cultural memory and the politics of public space. For over 20 years her work has focused on interventions and projects in public space, taking the form of collaboration and exchange with the audience. Her installations and photographic work raise questions on group memory and its interaction with personal history and souvenir. In these commemorative monuments, installations, video and photographic works, questions about history are posed, and its relationship with collective memory is explored and investigated.

Esther Shalev-Gerz is currently professor at Art school Valand, Göteborg University.

 

Rashomon (1950)

by Akira Kurosawa
Sunday 22 October 2006
7pm

The film was selected by Kari Mjåtveit.

For a productive practice of failure

Michael Blum
Thursday 26 January 2006
7pm

Michael Blum studied history at Paris University and photography at ENP, Arles (F) before turning to an artistic practice as an escape from the numerous limitations of the academic field. His videos, installations and publications aim at re-reading the production of culture and history and at deconstructing myths. Whether they’re about Karl Marx (Wandering Marxwards, 1999), a pair of shoes (My Sneakers, 2001) or capitalism (Homo Oeconomicus, 2000; potlatch.doc, 2002; 400 years without a grave is longtime to shut up, 2002), his works are seeking new perspectives on and resonances to surrounding objects and concepts.

Recently, Blum has been addressing issues more closely related to European 20th century history: The Monument to the Birth of the 20th Century (O.K Centrum für Gegenwartskunst, Linz – Revolver Verlag, 2004-05) was based on the encounter of Hitler and Wittgenstein in a Linz schoolyard 100 years ago – and all speculations that might arise from it, ranging from political farce to memory discourse. In 2005, he was showing A Tribute to Safiye Behar at the 9th Istanbul Biennial, a museum dedicated to the Jewish marxist-feminist and free-thinker who had a 30-year long affair with Mustapha Kemal Atatürk and influenced most of the reforms he was implementing in the 1920′s and which founded modern Turkey.

Michael Blum is born 1966 in Jerusalem. He’s based in Vienna.
www.blumology.net

Art on TV

Valentinas Klimasauskas
Tuesday 9 May 2006
7pm

Valentinas Klimasauskas, curator at CAC- Contemporary Art Center in Vilnius, talks about CAC TV. What does it mean for an art institution to produce TV? Is it possible to retain one’s agenda while collaborating with a commercial TV? How does the idea of open source and a fluid CAC TV team work?

The talk will be held in English.

Free television

Peter Dahlgren
Wednesday 24 May 2006
7pm

Lecture by Peter Dahlgren, professor at the Division of Media and Communication Studies at Lund University, on free television, democracy and the media. The lecture is held in connection with the exhibition Every program is a pilot, every program is the final episode.

TV on art

Pontus Kyander
Thursday 1 June 2006
7pm

Pontus Kyander, art critic and curator, talks about his previous position as editor of Format, a tv program on art. What can one accomplish with a program on art, what did the previous programs look like and what were the conditions for making Format?

The talk will be held in Swedish.

Hito Steyerl

Tuesday 13 June 2006
7pm

 

Måns Holst-Ekström

Monday 18 December 2006
7pm

 

Interventionist Art in the Age of Enterprise Culture

Gregory Sholette
Tuesday 8 May 2007
7pm

The aim of this presentation is to trace the effects of neo-liberalization upon politically committed artists in the United States by focusing on the shift from a post-war culture of administration to that of a post cold-war culture entrepreneurship. It concludes by asking what type of critical, artistic response is possible under the conditions of the new, homeland security state apparatus that emerged in the aftermath of September 11 2001.

Gregory Sholette is a NYC based artist, writer, and founding member of two artists’ collectives, Political Art Documentation and Distribution (1980-1986) and REPOhistory (1989-2000).   Together with Nato Thompson he is co-editor of The Interventionists: A User’s Manual for the Creative Disruption of Everyday Life (MIT Press 2004), and his book Collectivism After Modernism that is co-edited with UC Davis Art Historian Blake Stimson is due out in 2006 from The University of Minnesota Press, and he also teaches in the School of Art and Art Professionals at New York University, Visual Culture Program.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

What to do About Painting

An illustrated lecture presented by Morgan Fisher
Wednesday 6 June 2007
7pm

After several decades as a filmmaker, Morgan Fisher returned to his original interest and started making paintings. He will show and discuss his work in painting, which he thinks of as a reaction to what in film is necessary, the rectangular format and an image.

Morgan Fisher was born in Washinton, D.C., in 1942.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

An Architektur / Sabine Horlitz and Oliver Clemens

Wednesday 22 August 2007
7pm

An Architektur is a Berlin-based journal on the production and use of the built environment. An Architektur works on a discursive architectural practice, which understands the challenge of spatial phenomena and the visualization of notions of society manifested in space as a possibility of political action. In monothematic issues on concrete examples and places sociopolitical questions are applied to space and architecture. An Architektur is published bi-annually. Understanding the magazine as the focal product, we continue to develop and discuss topics raised and elaborated there in exhibitions, conferences, and other events.

Sabine Horlitz and Oliver Clemens from An Architektur will give the talk at Signal. They are currently artists in recidence at CPH AIR in Copenhagen.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

Come Alive!

Julie Ault
Wednesday 28 November 2007
7pm

Julie Ault will discuss Corita’s art practice including her silkscreen prints, and will reflect on her engagement with Corita’s work through various exhibitions and publication forms.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

On teaching and learning art and cultural production

Andrea Geyer, Bo Reimer
Wednesday 12 December 2007
7pm

Andrea Geyer, artist and professor at the Malmö Art Academy, and Bo Reimer, professor of Media and Communication Studies at the School of Art and Communication at Malmö University.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

Din vän datamaskinen

Release, reading and discussion with Pär Thörn
Pär Thörn
Monday 12 May 2008
7pm

Writing on art and writing art history

Will Bradley
Wednesday 23 January 2008
7pm

Will Bradley is a freelance curator and writer based in Oslo, Norway.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

IDEL ÖRA and New Beginings presents People Like Us

Wednesday 13 February 2008
7pm

Somewhere Over the Rainbow

Pia Mauno, Eivind Nesterud, Matias Ring

21 November–21 December 2003
Opening Friday 21 November

“Somewhere Over the Rainbow” presents works by Pia Mauno, Eivind Nesterud and Matias Ring. The exhibition centres around events or situations that extend from everyday routine and environment into personal configurations of landscape and methods of reflection.

Pia Mauno’s paintings depict unhabitable places. Landscapes, pools of patterns, repetitions and architectures where people are submitted to linear and circular structures in symbiosis or as if they challenged each other in an forever meaningless battle. Ideal human beings that strive for perfection, the lack of fools. Side by side, but without contact with each other, the figures move forward on the escalator.

Eivind Nesterud’s video work “Poe’s Room” shows a woman reading an extract by Edgar Allan Poe’s essay “The philosophy of furniture” in which a room is described in its smallest details. The work explores the ideal of the domestic environment, which here falls in contrast with the gallery space, questioning the relationship between imagination and experience.

The works of Matias Ring can be seen as a materialisation of instants or experiences, in which the artist attempts to reconstruct a temporary manifestation. A reflection on a day spent at the seaside or a contemplation on Jules Verne’s Captain Nemo entering the inaccessible places of the deep sea.

Divercité! Some things can be taken to the bank

Endre Aalrust and Trygve Luktvasslimo

8–31 October 2004
Opening Friday 8 October

Signal is proud to present Divercité! Some things can be taken to the bank, a collaboration between Norwegian artists Endre Aalrust and Trygve Luktvasslimo.

The exhibition addresses questions such as can our choices as consumers lead to significant change? Is it possible to consume in a radical manner, and if so whose rules must you play by? The notion of the “pink pound” originated in the early 1990s when the advertising industry began to recognise the huge spending power of affluent groups who fell beyond the category of the nuclear family. In subtle ways advertising began to address groups, including gay consumers, and in turn indicated the conscious policies adopted by businesses to address these minority groups with significant spending power.

In Divercité! Some things can be taken to the bank developments in the aesthetics of gay friendly advertising are examined. What are the factors that create a uniform heterogeneous minority, and what happens when stereotypical identities are produced and reinforced through the benevolent marketing and self-conscious attitudes of business?

Through their work with the pink economy Aalrust and Luktvasslimo present scenarios that questions the market’s desire of a rational consumer and how the confusion connected to acting unpredictably can possibly make a new starting point for criticism.

 

Henrik Olesen, Mia Rosasco, Trung Ky-Danh Vo

13 November–12 December 2004
Opening Saturday 13 November

Mörklagd 1+2

Beata Fransson, Saskia Holmkvist, Simo Rouhiainen

12 February–20 March 2005
Opening Friday 12 February 7-9pm

Strange. Familiar. Places.

Mats Adelman, Deborah Ligorio

23 April–5 June 2005
Opening Friday 23 April 7-9pm

Signal is pleased to present Mats Adelman, Malmö and Deborah Ligorio, Berlin/Milan, with the exhibition Strange. Familiar. Places.

The title of the exhibition alludes to the strange sensation that one can experience when finding oneself in a hitherto unknown place that, nevertheless, seems somehow familiar. Where does this familiarity come from and which comes first – one’s own experience or the construction of how something is?

In Strange. Familiar. Places. Mats Adelman shows wooden sculptures, watercolours, drawings and washes that, together, form a world of their own which is in some way familiar to the viewer; a world that exists in nature and in the no-man’s-land of factories and abandoned sites. Animals, most particularly birds, are depicted in Adelman’s work with great detail and precision. Their surroundings and situations do not show the same regard for realism or exactitude but tend towards fable or poetry. Fable makes itself felt in an unreal, foreign dimension of something that we sense that we know very well. Perhaps it is nature as we believe that we know it but with elements that are not usually understood and that seem to belong to another world.

In the film “Donut to Spiral” (2004) Deborah Ligorio approaches the landscape from another direction. On her journey through the desert to Robert Smithson’s Spiral Jetty in Great Salt Lake, Deborah Ligorio travelled through a landscape she had never visited before. In spite of this, the unknown seems unusually familiar and the magnificent landscape is difficult to grasp as really existing in that one’s experience of it is overshadowed by associations to backdrops from films and computer games. The journey to Great Salt Lake becomes a sort of cartography of a landscape which is already familiar to us through pictures, narratives and memories.

On Kunsthalle Athena and South as a State of Mind

Marina Fokidis
Sunday 6 March 2016
5pm

Marina Fokidis is a curator and writer based in Athens, Greece. She is the founding and artistic director of Kunsthalle Athena, which started as an experimental platform and is now taking its permanent form, and the founding and editorial director of South As a State of Mind, a biannual art and culture publication. Fokidis is also the head of the artistic office of documenta 14 in Athens.

Kunsthalle Athena is intended as a critical intervention in the art scenes of Athens, Greece and Europe at large. Reflecting on the social role of art institutions in the 21st century, Kunsthalle Athena eschews an attachment to the mere display of contemporary art, prioritising instead the possibility of co-producing culture. Drawing on creative sources of varied origins and providing a vital core of social interaction and exchange, Kunsthalle Athena is constantly informed by the idiosyncrasy and distinctiveness of Athens and its public. With a desire to emphasise the constant transformation of ‘the polis’ (Athens) as a symbolic location for the production and dissemination of contemporary culture worldwide, Kunsthalle Athena does not aspire to authority and infallibility but fosters a spirit of optimism and shared responsibility. Yet Kunsthalle Athena has no illusions. Building on the traditions of auto-critique, it inevitably operates within the limits of the possible, in the firm belief that something is better than nothing.

South as a State of Mind is a biannual arts and culture journal published in Greece and distributed internationally. Possessed by a spirit of absurd authority, it tries to contaminate the prevailing culture with ideas that derive from southern mythologies such as the ‘perfect climate’, ‘easy living’, ‘chaos’, ‘corruption’, and the ‘dramatic temperament’, among others. Through a twisted – and ‘southern’ – attitude, expressed through critical essays, artists’ projects, interviews and features, it wishes to give form to the concept of the South as a ‘state of mind’ rather than a set of fixed places on the map. People from different – literal or metaphorical – ‘Souths’ renegotiate the southern attitude, partly to define it and partly to invent it, within the post-crisis world. Opening up an unexpected dialogue among neighbourhoods, cities, regions and approaches, South as a State of Mind is both a publication and a meeting point for shared intensities. From September 2015 and until June 2017, South as a State of Mind hosts documenta 14 and for the next four issues the magazine is reconfigured as the official journal of documenta 14 under the editorial directorship of Adam Szymczyk and Quinn Latimer.

The talk will be held in English.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.


Something eerie

Lawrence Abu Hamdan, Graeme Arnfield, Ieva Epnere, David Kasprzak,
Daria Melnikova, Tadasu Takamine

26 February–17 April 2016
Opening Friday 26 February 7-9pm

I don’t know if you’ve noticed my absence, or maybe you have become used to it. It’s hard to calculate how long I’ve been gone or if I’ve been gone long enough to warrant calculation. Before I arrived in my present situation time was bounded—now that I’m here it’s inexhaustible.I am writing you partially as an attempt to consume this time, but also to record it, should someone find this.

The room—yes I’m pretty sure it’s a room—I’ve been inhabiting is exceptionally unremarkable besides the effect that it seems to have had on myself and my cohabitants, but I’ll return to that. Rows of institutional chairs line three of the four Escape Gray™ walls. (It’s the name of a shade of gray I saw on a paint sample sheet. I think it’s close.) All of the usual paraphernalia that decorates rooms such as this one seems to have congregated in the center of the space in a perplexing configuration. I’m sure it’s conversing about information that I haven’t been privy to.

A clock is the only object that decided to stay in its location on the wall. It’s one of those black rectangular ones with the red LEDs that are much brighter than necessary. The time hasn’t changed since I’ve been writing you. Checking it has become a ritual. Look up. Look back down. Wait for the afterimage of the red lights to disappear. Count to sixty. Look back up. I’m not even sure that the rule of sixty seconds applies here or to this particular clock. Another unsettling feature of this room is the low droning sound coming from somewhere within the ceiling, like a bow running against a saw blade. The drone itself could be soothing in another situation. The unsettling part is speculating about its origin.

As I mentioned before, this room has had an unusual effect on me and the others. I would ask them if they had noticed it too, but I can tell by the way they are looking at their hands that we’re sharing this experience. Everything in the room is in sharp focus except my own body and the figures of the others. If you hold your hand in front of your face but focus on something in the distance you can get a sense of what I’m experiencing. My own outlines are slightly vibrating.

The only person in sharp focus is a woman in a sterile gray dress who has entered the room several times. Each time she leaves, she takes one of the others with her. How she enters and exits remains a mystery, as I cannot see any doors, windows, hatches, or otherwise. On her last visit I asked her about the blurriness I was experiencing. She said that we are only archetypes or stand-ins for other people. It wasn’t necessary for us to be in sharp focus since we wouldn’t be recognized anyway. When I asked where she was taking the others she said that she was simply acting on behalf of someone else that we would never meet and that we would be given no more information.

Since I’ve been writing you three of the others have been returned by the woman in the gray dress. The first explains to me that she was taken to the foot of a great pyramid, but instead of sand she found herself surrounded by an expanse of frozen fjords sloping into glacier fields. The second found himself in Japan following a catastrophic event, and the third was placed in Palestine to investigate the murder of two children.

I’m afraid I must finish this record quickly. The woman in the gray dress has returned and appears to be walking directly toward me.

 

* This text is part of an ongoing work by David Kasprzak commissioned specifically for the exhibition.
** Something eerie transpires between the fiction and the reality of our times – think protocols, crises and meltdowns; causes without effects and effects without causes.

 

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Something eerie, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Daria Melnikova, Room 2. Fool's Gold, 2015. Detalj/detail. Foto/Photo: Lotten Pålsson

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Daria Melnikova, Room 2. Fool's Gold, 2015. Detalj/detail. Foto/Photo: Lotten Pålsson

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Tadasu Takamine, Japan Syndrome in Kansai, 2011. Foto/Photo: Lotten Pålsson

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Ieva Epnere, Four Edges of Pyramiden, 2015. Foto/Photo: Lotten Pålsson

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Something eerie, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Graeme Arnfield, Sitting in Darkness, 2015. Foto/Photo: Lotten Pålsson

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Lawrence Abu Hamdan, Rubber Coated Steel, 2016. Foto/Photo: Lotten Pålsson

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Daria Melnikova, Room 2. Fool's Gold, 2015. Foto/Photo: Lotten Pålsson

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Something eerie, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Daria Melnikova, Room 2. Fool's Gold, 2015. Detalj/detail. Foto/Photo: Lotten Pålsson

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Daria Melnikova, Room 2. Fool's Gold, 2015. Foto/Photo: Lotten Pålsson

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Tadasu Takamine, Japan Syndrome in Kansai, 2011. Foto/Photo: Lotten Pålsson

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Daria Melnikova, Room 2. Fool's Gold, 2015. Detalj/detail. Foto/Photo: Lotten Pålsson

On typography

WKMP
Wednesday 20 February 2008
7pm

A talk by WKMP (Anders Bergman, Martin Bergström, Terje Östling), a Malmö based design collaborative from the fields of art, advertisement and graphic design.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

Appunti per un’Orestiade africana

by Pier Paolo Pasolini
Introduction by Oskar Hallberg
Thursday 11 February 2016
7pm

Appunti per un’Orestiade africana / Notes for an African Orestes (1970), 71 min

A film about an idea for a film never made: Pasolini journeys to post-colonial Africa to develop a film version of Aeschylus’ masterwork, The Oresteia. While his camera searches out potential locations, Pasolini on the soundtrack offers his ideas about the play as well as provocative observations about the continent. Different casting ideas emerge: Can a beautiful Masai warrior play Agamemnon, if the part of Orestes goes to a Western-dressed university student from Tanzania? Chorus members are drawn from the farmers, small merchants and beggars the director meets at markets. The background of impending violence in Aeschylus is evoked with images of the then-raging struggle in Biafra. Gradually, Pasolini conjures up his contemporary African Oresteia by finding the essence of Aeschylus’ dark vision in the world his camera discovers.

 

Oskar’s Gold Nuggets is an ongoing series of film screenings where our neighbor and cineaste Oskar Hallberg from Cinema Panora presents a film in dialogue with the current exhibition on view.

!?

Juan Pérez Agirregoikoa, Fia Backström, Andrea Geyer, Sharon Hayes, Fia-Stina Sandlund, Johan Tirén

29 October–12 December 2010
Opening Friday 29 October 7-9pm

Sweden has now an openly xenophobic party in parliament.

A party more than 300 000 people voted for.

A party that has kicked out the uniformed, put on a suit and a confiding look, gained the votes of dissatisfaction and pointed out a group of obvious scapegoats as the reason behind all social problems. Their former slogan “Keep Sweden Swedish” has become “Let Sweden remain Sweden”.

In Malmö, everyone who is not blond and blue eyed runs the risk of getting shot by a madman who in the press goes by the name Laserman II.

An exclamation mark and a question mark !?

We are now a step closer to the rest of Europe.

 

Hermann Scherchen: alles hörbar machen. An introduction.

Luca Frei
Wednesday 3 February 2016
7pm

Luca Frei will give an introduction to his long-term project about German conductor Hermann Scherchen (1891-1966) and his pioneering research in electroacoustics in Gravesano, Switzerland. Frei will discuss his role in the project as visual artist, researcher, archivist, and grandson of Hermann Scherchen, and contextualise it in relation to previous works such as his English interpretation of the book La soi-disant utopie du centre Beaubourg, written by Swiss sociologist Albert Meister, as well as his sculptural installations that reflect ways to encourage free learning and emancipatory practices.

Luca Frei, born 1976 in Lugano, Switzerland, studied in Lugano, Edinburgh, New Haven and Malmö. He lives and works in Malmö, Sweden.

The talk will be held in English.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.


Pier Paolo Pasolini. The sacred body

Lars Gustaf Andersson
Thursday 24 November 2016
7pm

In November last year, a dismal jubilee was celebrated; the 40th anniversary of the murder of the Italian filmmaker and writer Pier Paolo Pasolini.

Setting out from Ilias Papailiakis’ Studies on Pasolini’s portrait, 2015, a presentation of Pasolini is unfolded by Lars Gustaf Andersson, who in 1992 published The Children of Angels, a study on Pasolini’s filmmaking. The universe of Pasolini – his art and his political position – is based on the idea of the material and bodily language as a shield against the consumerism and conformism that during the post-war era succeeded in implementing the fascist homogenisation of the human being that Mussolini failed to accomplish. Pasolini spoke of the new fascism as “The Power without a Face” and against this he juxtaposed the real faces of real humans. With Papailiakis’ pencil portrait of the murdered Pasolini, another face is added to this row.

The talk will be held in Swedish.


Water hollows stone

Pauline Oliveros, Ilias Papailiakis

20 November 2015–14 February 2016
Opening Friday 20 November 7-9pm

Listening is the foundation of social relations, of politics and of negotiations. It is the foundation for an articulation of opposition, the basis for protest and affirmation. A lack thereof nurtures conflicts, creates borders – the Us and Them.

Pauline Oliveros is a composer, artist, musician, educator and deep listener. Her practice spans 50 years of boundary dissolving music making, research and education. She is a prominent figure in the world of contemporary music and describes her life practice of Deep Listening as listening in every possible way to everything possible to hear, no matter what you are doing. This sonic sensibility is based on a synthesis of the psychology of consciousness, the physiology of the martial arts, and the sociology of the feminist movement. Understanding and performing such a listening is always a two-way processing of information – focal attention and global attention.

Seeing is the practice of the witness. It is what defines and distinguishes. Seeing is the foundation of differentiation, of discipline, but also of desire. For some, seeing is believing, the foundation of truth; others close their eyes to what is.

Through painting, Ilias Papailiakis takes on the task of identifying and archiving images. He zooms in on carefully selected details and lets the close study reveal the depiction of a merciless society marked by cruel battles in eternal repetition. In The Book of Silence, the attention is turned towards the notion of loss. What is left is a situation of vacuum, beyond the capacity of speech. It is the veil of silence that does not retreat. Political and religious conflicts, acts of intimate and domestic violence, the spatial boundary of a relief, and the attempt to render eternity and remembrance to a cruel assassination are all negotiations on the traumas that are reflected in the historical and contemporary monstrosities of human kind. What is the meaning of loss in an era of great silence?

The act of listening is about slowing down; the act of seeing is about paying attention. Two distinct artistic practices are juxtaposed, the audible and visual sensitivities of each practice are put to the forefront. The one enhances the other in this specific relationship, in this particular dialogue. It is about receiving and digesting, rather than delivering or declaring – a sensitivity, a tuning in on details. It is about thinking and understanding. It is about formulating an argument and articulating it. Listening is the beginning of the possibility to change, and seeing embraces the act of acknowledgement. Persistence is the strongest force of opposition, and water hollows stone.

 

Pauline Oliveros, b. 1932, lives and works in Kingston, New York.
Ilias Papailiakis, b. 1970, lives and works in Athens.

 

Pauline Oliveros, The world of possibilities is sound. Recorded in October 2015.
Listening questions published in Deep Listening: A composer’s Sound Practice, 2005.

 

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Water hollows stone, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Water hollows stone, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Water hollows stone, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Water hollows stone, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Water hollows stone, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Ilias Papailiakis, Studies on Pasolini's portrait, 2015. Foto/Photo: Lotten Pålsson

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Ilias Papailiakis, Untitled, 2015. Detalj/Detail. Foto/Photo: Lotten Pålsson

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Water hollows stone, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Water hollows stone, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Ilias Papailiakis, Greek Relief, 2015. Foto/Photo: Lotten Pålsson

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Water hollows stone, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Ilias Papailiakis, Home-made, 2015. Foto/Photo: Lotten Pålsson

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Ilias Papailiakis, Medusa, 2014-2015. Foto/Photo: Lotten Pålsson

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Water hollows stone, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Ilias Papailiakis, Fiction, 2015. Foto/Photo: Lotten Pålsson

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Water hollows stone, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Water hollows stone, Installationsvy/Installation view. Foto/Photo: Lotten Pålsson

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Ilias Papailiakis, Το βιβλιο της σιωπης (The book of silence). Skissbok/sketchbook. Foto/Photo: Lotten Pålsson

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Ilias Papailiakis, Το βιβλιο της σιωπης (The book of silence). Skissbok/sketchbook. Foto/Photo: Lotten Pålsson

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Ilias Papailiakis, Το βιβλιο της σιωπης (The book of silence). Skissbok/sketchbook. Foto/Photo: Lotten Pålsson

Then and now. We and them.

Christina Zetterlund
Tuesday 27 October 2015
7pm

In conjunction with Allison Smith’s exhibition The Fort, Christina Zetterlund will talk about history never being neutral from the point of arts and crafts. In a time when certain forces wish to turn back the clock by invoking cultural, national and economic arguments of dubious nature, the ghost of history is ever more present and shows that there is an intimate connection between the now and then in the making of contemporary as well as historical subjects.

Christina Zetterlund is Professor at the Department of Design, Crafts and Arts at Konstfack.

The talk will be held in Swedish.


On Galleriet Läderfabriken and Galleri Lång

Presentation och talk with Marianne Andersson, Åsa Maria Bengtsson and Christina Lång
Tuesday 1 December 2009
7pm

 

On The Living Art Museum

Karlotta Blöndal and Gunnar Már Pétursson
Thursday 26 November 2009
7pm

The Living Art Museum was founded by a group of twenty artists in 1978 and was the first non-profit artist-run organization in Iceland. This reputation was founded upon the commitment to the presentation of innovative work by Icelandic and international artists. The very distinctive character and history of Nylo have cemented it’s reputation as a unique place to produce and experience contemporary art.

Through the last 30 years it has stayed true to its original goals; to create a platform for progressive exhibitions and critical discussions on experimental art practice. The museum has given equal weight to work by international and Icelandic artists. The Living Art Museum’s collection holds today more than 1000 works, all donated by artists that have been a part of Nylo’s history. Traditionally, artists that have exhibited in Nylo have donated works to the collection, which means that over the past 30 years the museum has acquired an eclectic collection of works by both international and Icelandic artists. The Museum also holds a vast collection of artist books and prints, as well as documents that speak to the context and history of the works in the collection.

Gunnar Már Pétursson and Karlotta Blöndal, artists and board members of the museum, will give a talk on The Living Art Museum as an artists run initiative for over 30 years and its presence and impact on Icelandic art scene, the predicament of being an artist run initiative and an establishment, responsibilities, past glory and future dreams.

Gunnar Már Pétursson and Karlotta Blöndal’s stay in Malmö is part of a residency project organized by SparwasserHQ (Berlin) – Signal (Malmö) – UKS (Oslo) – rum46 (Århus) and supported by Nordic Culture Point.

The talk will be held in English.

On CO Hultén

Lecture by Thomas Millroth
Wednesday 18 November 2009
7pm

Book launch

A Parallel History – The Independent Art Arenas of Skåne 1968–2008
Presentation, talk and djs
Thursday 24 September 2009
7-11pm

7–8 pm: Presentation of the book and discussion with the authors
8–11 pm: Party and DJs Gert-Olle Göransson/Galleri Ping-Pong and Peter Thulin/Musik&Konst
Place: Monbijougatan 17 H, 2nd floor

The publication A Parallel History – The Independent Art Arenas of Skåne 1968–2008 is a unique survey of Skåne’s independent art scene of the last 40 years. The book’s exhaustive timeline and specially commissioned essays relate the history of the independent art scene with focus on the variegated array of initiatives and exhibition spaces that have shaped the development of a vibrant art scene.Titel: A Parallel History – The Independent Art Arenas of Skåne 1968-2008

Editors: Carl Lindh, Emma Reichert, Elena Tzotzi
Published by: Signal- Center for Contemporary Art. Publishing year 2009
Texts by: Kim Einarsson, Leif Eriksson, Carl Lindh, Annelie Nilsson, Emma Reichert, Carolina Söderholm, Elena Tzotzi, Terje Östling
Design: Matilda Plöjel
Pages: 240
Language: Swedish/English
ISBN: 978-91-633-3923-3
Price: 300 SEK

Malmö Gallery Night: book, film & djs

Saturday 26 September 2009
6pm-midnight

During Malmö Gallery Night the book A Parallel History – The Independent Art Arenas of Skåne 1968–2008 will be presented, and a selection of archive and private films from Mitt Hjärtas Malmö [Malmö in my Heart] will be screened in collaboration with the film production company Auto Images. The presentations will take place in a festive atmosphere accompanied by music from the last 40 years.

DJs: Martin Theander/Auto Images, Per&Pam, revK.

Manipulation!

MFK – Malmö Fria Kvinnouniversitet
1-31 May 2009

Exhibitions, workshops, performances, lectures, film screenings, discussions and a school of manipulation (watch out!) curated by MFK- Malmö Fria Kvinnouniversitet.

 

Expect Anything Fear Nothing

Video documentation: Expect Anything Fear Nothing - Seminar on the Scandinavian Situationism
Wednesday 15 April 2009
7pm

Screening of Expect Anything Fear Nothing, a seminar on the Situationist Movement in Scandinavia that was held in Copenhagen in March 2007. The Situationist movement was a cultural revolutionary movement that had its highest point of activity across Europe in the 1960s. With the Situationist belief in the idea of an avant-garde that was meant to break the ice for the revolution, the debates about the means of the revolutionary struggle were crucial. The French-Belgian fraction that continued as the Situationist International was sceptical about art as a means in the struggle against the Society of the Spectacle and concentrated their effort on analysing spectacular free market capitalism. Contrary to this, the German-Scandinavian fraction believed in direct action and wanted to realise the revolution here and now by setting free the creative forces of art in the everyday. The artists should take over the means of production and the city should be transformed into one great work of art without spectators. The German-Scandinavian fraction was more open and anarchist, and worked under several names – The 2. Situationist International and Situationist Bauhaus among others.

The parts of the seminar that will be screened at Signal have been specifically chosen because they highlight the activities of Drakabygget / Situationist Bauhaus, in the south of Sweden, and include speakers such as Gordon Fazakerley (UK/DK), visual artist and founding member of Drakabygget, Jacqueline de Jong (NL), visual artist and former member of the SI. Editor of the Situationist Times, six issues, 1962 – 1965, Lars Morell (DK), historian and author of Poesien breder sig. Jørgen Nash, Drakabygget og situationisterne. Involved with Drakkabygget in the 1980s.

The seminar was organised by Mikkel Bolt and Jakob Jakobsen and is screened at Signal in conjunction with our current research project on the non-institutional art initiatives in the south of Sweden during the period of 1968-2008.

The YES! Association

Wednesday 1 April 2009
7-9pm

The YES! Association welcomes you to an open meeting and presentation of its work, history and future.

The YES! Association was founded in 2005 through the participation in the exhibition “Art Feminism – strategies and effects in Sweden from the 1970’s until today”. For this occasion the association put together a legally binding contract (Equality Agreement) stating a promise of equality through allocation of quotas within the institutions. In the “Press Conference /Performance” the YES! Association offered the institutions to enter the agreement.

Since then the association has exhibited, done actions, lectured, written texts and debated. In September 2008 “Privilege Walk/Symposium – Feminist and intersectional aspects of contemporary art” was organised at Lilith Performance Studio. The association is currently collaborating with artist Kajsa Dahlberg and the artist run space Transmission in Glasgow.

The evening at Signal begins with the screening of a 40 minutes video documentation from the “Press Conference/Performance” at Dunkers Kulturhus, Helsingborg (2005) and then artist Kajsa Dahlberg will present the collaborative project “The Name Of This Association Shall Be Transmission”.

The presentations will be held in Swedish, the video documentation has English subtitles. For more info: http://www.foreningenja.org/

Treffpunkt: Universal Ghost Orchestra & Pär Thörn

Friday 21 November 2008
8pm

The Malmöbased record label Treffpunkt launches two new records:
Mummydance/Shadowtheatre (7″) by Universal Ghost Orchestra
Schöneberg/Stammheim/Gärdet/Rågsved (CDR) by Pär Thörn

The evening will be celebrated with performances by Universal Ghost Orchestra (Lisa Jeannin, Rolf Schuurmans, Kristoffer Lindgren), and Pär Thörn and Treffpunkt will play records.

Kristoffer Arvidsson

Wednesday 19 November 2008
7pm

In conjuction with our current research project on the non-institutional art initiaves in the south of Sweden during the period of 1968-2008, Signal has invited Kristoffer Arvidsson, researcher at Göteborg Museum of Art. The lecture will focus on the artscene of Gothenburg during the sixties and seventies departing from the Göteborg Museum of Art, Göteborgs Konsthall, the galleries, Valand School of Fine Arts and public art projects.

In Swedish.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

Magnus Bärtås

Screening and talk
Thursday 13 November 2008
7pm

!ÄR DU? och PUNKT – A text/and sound performance

Mathias Kristersson
Thursday 16 October 2008
7.30pm

Malmö Gallery Night 2015

Saturday 26 September 2015
6pm-midnight

On view is the exhibition The Fort by San Francisco based artist Allison Smith.

Please note that we will be closed during the day and remain closed on Sunday 27 September.

Concert by s-åj

Sven-Åke Johansson
Thursday 4 September
8pm

Sven-Åke Johansson is a musician, artist and composer based in Berlin since the late 60s and an important figure of the improvisational music scene in Europe. Johansson has collaborated with among others Peter Brötzmann, Sonic Youth, Blixa Bargeld and Martin Kippenberger. The visual part of his performances has always played an important role, especially in the concerts where he uses cucumbers, cardboard boxes and packages of butter to make music.

The concert is a collaboration between Signal – Contemporary Art Center and Galleri Ping-Pong and takes place during Full Pull 08.

Source Materiel

Allison Smith
Sunday 20 September 2015
5pm

Allison Smith reflects on her sources of inspiration and the different kinds of research that inform her work. Allison Smith lives and works in the San Francisco Bay Area, California. She is a tenured professor and Chair of the Sculpture Program at California College of the Arts.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.


The Fort

Allison Smith

18 September–8 November 2015
Opening Friday 18 September 7-9pm

A sconce /skans in Swedish/ is a centuries-old term for a type of fortification assembled as a base for defense operations primarily in Northern Europe. Mostly signifying a covering or protection, sconce is an interesting word of many meanings including a kind of candlestick, a fine, and a scull. Founded on the idea that historical events gain meaning and relevance when performed live in an open-air, interactive setting, living history as a form of history-making “institution”, as well as a form of entertainment and tourism, parallels the rise of 20th Century modernism. The world’s first open-air living history museum was founded in Sweden in 1891. Its name: Skansen (The Fort).

Allison Smith’s work is carved from a fascination and investigation into the cultural phenomenon of historical reenactment. Combining sculpture, photography, textiles, and traditional craft, this new body of work sheds light on objects and spaces of historical reenactment as props and sets for the performance of fundamentalist nationalisms in Sweden and the U.S. While the apparent task of living history museums is to resuscitate the past by performing, as accurately as possible, everyday activities such as sewing, weaving, basket and rope making, metal- and woodworking, as well as the art of warfare, Allison Smith’s research-based projects question the underlying impulses – perverse, economic, and haunting – that drive history-in-the making as a form of knowing.

Exploring notions of gender, culture and authenticity through craft and performance and the connections of both to war, violence and the construction of national identity, she imbues a haunted symbolism to each object, image, act. The figure of the scarecrow is crossed with an antenna-like transmitter of signals and coded messages, the image of an overripe harvest feast is hoisted as a flag, and other allusions to the notion of the fort as a construction crafted to protect from unwanted intruders and ward off potential threats to resources. Following the logic of history as an active process, Allison Smith applies a conceptually haptic, material and textured dimension to her work that brings forward a reading of traditional craft as a carrier of multiple and complex messages. The military, the domestic, the problematic, and the political are all aspects that make up history, which in turn renders a simplistic interpretation of cultural heritage impossible. In Allison Smith’s material and thematic reenactments, positions that are built upon conservative narratives of history are set rocking.

In the midst of the rapid industrialization that would change the old rural Sweden forever, the founder of Skansen introduced the principle of performing the past for knowing ourselves in the present. Thus began the project to bring the traditional culture to life by exhibiting furnished houses and farmsteads, cultivated plots and gardens, literally inhabited by human beings and live animals. But how we go about knowing the past is never neutral. In a time when certain forces wish to turn back the clock by invoking cultural, national and economic arguments of dubious nature, the ghost of history is ever more present. The question is how we perform it.

 

Special thanks to Martin Israelsson/Njudung Snickerier, Magnus Thierfelder, Elizabeth Moran, Christina Linden, Eva Linér, Smith Koy Smith, Annika Enqvist and Marie Andersson, Mogens Christian Didrichsen, Johan Schuisky, Sandra Åberg/Skansen.

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Allison Smith, The Fort. Foto/Photo: Lotten Pålsson

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Allison Smith, Judgement Stick, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, Judgement Stick, 2015. Detalj/Detail. Foto/Photo: Lotten Pålsson

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Allison Smith, The Fort. Foto/Photo: Lotten Pålsson

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Allison Smith, Slip Cover, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, Slip Cover, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, Fat Flag, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, "Scarecrow" (scare quotes) North, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, "Scarecrow" (scare quotes) North, 2015. Detalj/Detail. Foto/Photo: Lotten Pålsson

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Allison Smith, "Scarecrow" (scare quotes) South, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, The Fort. Foto/Photo: Lotten Pålsson

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Allison Smith, The Fort. Foto/Photo: Lotten Pålsson

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Allison Smith, The Fort. Foto/Photo: Lotten Pålsson

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Allison Smith, Night Gown, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, Night Gown, 2015. Detalj/Detail. Foto/Photo: Lotten Pålsson

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Allison Smith, Lookout Tower, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, Lookout Tower, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, Lookout Tower, 2015. Detalj/Detail. Foto/Photo: Lotten Pålsson

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Allison Smith, The Fort. Foto/Photo: Lotten Pålsson

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Allison Smith, Sconce, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, Sconce, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, Ghost Photography (Skansen Revisited) 1891-1981, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, Ghost Photography (Skansen Revisited) 1891-1981, 2015. Detalj/Detail. Foto/Photo: Lotten Pålsson

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Allison Smith, The Fort. Foto/Photo: Lotten Pålsson

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Allison Smith, Lotta, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, Candelstuck, 2015. Foto/Photo: Lotten Pålsson

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Allison Smith, The Fort. Foto/Photo: Lotten Pålsson

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Allison Smith, The Fort. Foto/Photo: Lotten Pålsson

Sunshine Socialist Cinema

Sunday 14 June 2015
9pm and as soon as it gets dark

A film evening on images of Malmö and good energies. The programme sets out with an image from 1946 found in the jubilee publication of the textile factory Kürzel and an educational film on the future green jobs in creative Malmö. The films are projected directly onto the former industrial buildings in the courtyard of Signal.

Sunshine Socialist Cinema is an outdoor cinema powered by solar panels run by artists Kalle Brolin and Kristina Müntzing. This evening’s film programme has been compiled by Sunshine Socialist Cinema in collaboration with Signal and includes among others the video The Myth of the Many in the One (2012) by artists Kennedy Browne based on sampled biographies of visionary entrepreneurs in Silicon Valley; the anthropological film Makwayela (1977) by Jean Rouch and Jacques D’Arthuys depicting a dance performed every morning outside a bottle factory in postcolonial Mozambique and fanakalo, a secret language invented by miners in South Africa in order to communicate without being understood by their overseers; and the video Reconsidering The new Industrial Parks near Irvine, California by Lewis Baltz, 1974 (2009) by artist Mario Pfeifer depicting the industrial development in the area from the 1980′s till today.

Film programme:
Kennedy Browne: The Myth Of The Many In The One (2012), 19:07 min
Jean Rouch & Jacques D’Arthuys: Makwayela (1977), 17:21 min
Mario Pfeifer: Reconsidering The New Industrial Parks Near Irvine, California By Lewis Baltz, 1974
(2009), 12:56 min
Bonnie Camplin & Paulina Olowska: A (Like Akarova), 2006. 3:01 min


The Pilgrim City

Hans Carlsson
Wednesday 10 June 2015
7pm

A talk on forward/visionary and backward/reactionary movements in Malmö. In the essay From Pilgrim to Tourist – or a Short History of Identity Zygmunt Bauman compares the pilgrim’s search for inner peace and enlightenment with the modern subject’s belief in a shapable future. Bauman’s thinking, together with reflections on the film Båten (The Boat) from 1962 by Jan Troell, that will be screened during the evening, are points of reference in a talk about Malmö, nostalgia, borders, picture windows and walking across bridges.

The talk will be held in Swedish.

Image: Eric Sigfrid Persson’s archive / Malmö stadsarkiv


Oskar Hallberg and Cindy Lee

Wednesday 4 May 2011
7pm

Ubu-Websday is a series of events where invited guests are asked to present a personal selection of material from one of the largest web-based archives, www.ubu.com. Our guests this evening are Oskar Hallberg, suspected of sometimes being musician, art historian, organizer, projectionist, et cetera and Cindy Lee who runs galleri KRETS together with Anna Granqvist. They will each introduce a programme of approx. 30-45 min offering an opportunity to discover the treasures of UbuWeb, and together with others.

The Blessing / Inauguration

Friday 22 May 2015
7.30pm−11pm

The Blessing will be an evening of good karma and happy spirit to celebrate our new home on Monbijougatan 17H, Malmö.

As in all rituals drums, tunes and various potions are important ingredients.

There will be drums.

A concert by To\To, 8pm
To\To is an imaginative search of repeated rhythmic, a theatrical drum set-up of unusual stubborn appearance.
To\To is a shimmering rhythmic challenge with the drum set as the main substance in a slowly phase-displacing and sophisticated primal energy outlet.
To\To is a double drum set played by both members while facing each other.
To\To is Tobias Kirstein and Toke Tietze.

There will be tunes.

The Polyphonic Host
A performance by Sandra Mujinga, 9pm
“(…)They’re born with their brains in their hands. Don’t you see, that makes them peaceful!
They’ve got to be, cos a creature like that would have to trust anyone it meets.”
-Donna (Doctor Who, season 4 episode 3, The Planet of The Ood)

There will be drinks.

Come and celebrate with us!

* A very big thank you to artist Magnus Thierfelder, architects Josef Lindh and Testbed Studio, and Ola Gustafsson/Elastic Gallery for helping us achieve the right feng shui in our new home.

** Our new space is on the first floor with no elevator, please call us in advance if stairs is an obstacle.


New space opening in spring 2015

New address on Monbijougatan 17H, SE 211 53 Malmö. More info soon!

And Before It Falls It Is Only Reasonable To Enjoy Life A Little

Rana Hamadeh
Thursday 19 February 2015
7pm at Mitt Möllan

This performance, developed under the umbrella of the Alien Encounters Project that Rana Hamadeh initiated in 2011, is an exhaustive deliberation on the notion and gesture of ‘falling’: falling as a form of legal apathy; falling as a choreographic gesture; and falling as a dynamic of virulence. In this performance, the artist leads a journey amidst the legal coding of the terms ‘falling ill’, ’immunity’ and ‘quarantine’, to outer-space and land-sea relations plotted through science fiction projections, geo-political territory formation and cross-border travel. Thinking through the conjunction of the legal and the spatial, Hamadeh plays out an intensive scrutiny of the shared lexicons of criminology, epidemiology and theater.

Rana Hamadeh is a performance and visual artist from Lebanon based in the Netherlands. Interested in a curatorial approach within her artistic practice, she works on long term discursive research projects that operate as umbrellas to growing series of performances, choreographic/cartographic works, installations as stage sets, and writing projects. Her work stems from an extended investigation into specific concepts and terms, treating the field of theory as fiction. Selected exhibitions include a.o. CCA Wattis Institute, EVA International, KIOSK (solo), 2014; Lyon Biennale, The Lisson Gallery, Beirut (Cairo), Witte de With, 2013; Townhouse Gallery, 2012; Van Abbemuseum, 2011; Beirut Art Center, 2010; The New Museum, 2009.

Rana Hamadeh, And Before It Falls It Is Only Reasonable To Enjoy Life A Little. Foto/Photo: Signal

Rana Hamadeh, And Before It Falls It Is Only Reasonable To Enjoy Life A Little. Foto/Photo: Signal

Rana Hamadeh, And Before It Falls It Is Only Reasonable To Enjoy Life A Little. Foto/Photo: Signal

Rana Hamadeh, And Before It Falls It Is Only Reasonable To Enjoy Life A Little. Foto/Photo: Signal

Rana Hamadeh, And Before It Falls It Is Only Reasonable To Enjoy Life A Little. Foto/Photo: Signal

Rana Hamadeh, And Before It Falls It Is Only Reasonable To Enjoy Life A Little. Foto/Photo: Signal

Rana Hamadeh, And Before It Falls It Is Only Reasonable To Enjoy Life A Little. Foto/Photo: Signal

Rana Hamadeh, And Before It Falls It Is Only Reasonable To Enjoy Life A Little. Foto/Photo: Signal

Rana Hamadeh, And Before It Falls It Is Only Reasonable To Enjoy Life A Little. Foto/Photo: Signal

Rana Hamadeh, And Before It Falls It Is Only Reasonable To Enjoy Life A Little. Foto/Photo: Signal

Rana Hamadeh, And Before It Falls It Is Only Reasonable To Enjoy Life A Little. Foto/Photo: Signal

Rana Hamadeh, And Before It Falls It Is Only Reasonable To Enjoy Life A Little. Foto/Photo: Signal

The rhetorical situation and the ontology of the text

or

A revelation (of an aspect of the metaphysical experience that can not be revealed in any other way)
Christina Ouzounidis
Wednesday 4 February 2015
7pm at Mitt Möllan

This talk is an attempt by Christina Ouzounidis to think about issues of artistic method, materiality and forms of appearance through her own practice; issues always present within an artistic practice, but addressed at times in relation to the emerging artistic research within academia.

Christina Ouzounidis is a playwright and director and participates in the exhibition A House of Several Stories at Signal with an excerpt from the radio drama Tid för Ekot. She recently released the book Spår av Antigone (Traces of Antigone), which has its first performance at Göteborgs Stadsteater this February.


 

Release of the report Inga undantag (No Exceptions)

Mikael Löfgren, Louise Andersson,
Jonas Ekeberg
Wednesday 28 January 2015
5−7pm at Malmö Konsthall

Signal – Center for Contemporary Art and Lunds konsthall arrange a release of the report No Exceptions. The Creation of Value in Small and Medium Sized Art Centers at Malmö Konsthall. The report is written by Mikael Löfgren and produced by Klister, a nationwide network for small and medium-sized contemporary art centers in Sweden.

In the report, Löfgren argues that the demand for measurability and immediate numbers that characterizes contemporary cultural discourse is not suitable for evaluating the work of smaller art institutions. Löfgren also argues that what primarily characterizes the work of these art centers is their ability to establish effective networks locally, regionally, nationally and globally, and that networking is not just a geographical phenomenon. The art centers connected to the network of Klister act as links between the public and cultural life, between education and research, and between the personal and the political.

Invited contributors to the evening are Mikael Löfgren, Louise Andersson (cultural policy expert at the Swedish Association of Local Authorities and Regions) and Jonas Ekeberg (Editor of Kunstkritikk).

The event will be held in Swedish.

Book market

-1, Sailor Press, the bookshop at Signal
13−14 December 2014
11am−5pm at Mitt Möllan

It is time for the yearly Christmas market at Mitt Möllan. Signal will – on our temporary stay here – participate with a micro book market. Besides publications from specialised publishing houses such as In Edit Mode Press, Paraguay Press, Tankekraft and A.R.T. Press, already regulars in our bookshop, we have invited -1 and Sailor Press to present a selection of titles.

-1 (Copenhagen) is a new bookshop located in the recently inaugurated basement space at Den Frie Centre of Contemporary Art. Their activities include a bookshop and an archive with a focus on independent publishing strategies, nordic collaborations and the relationship between visual art and printed matter.

Sailor Press (Malmö) is run by the graphic designer Matilda Plöjel. Focusing on a close dialogue and collaboration with artists, the making of each publication explores the specific artistic practice in relation to the medium of printed matter. In addition, Sailor Press distributes books on design-, craft- and art theory.

Come and browse among artists’ books, publications and assorted printed matters!

A House of Several Stories

Nevin Aladag, Jumana Emil Abboud,
Hamza Halloubi, Anna Nordquist Andersson, Christina Ouzounidis

21 November 2014–22 February 2015
Opening Friday 21 November 7-9pm

We now know this:

That what is claimed with certainty rarely is what is claimed with
certainty. That what is claimed with certainty gladly argues
something else, something much more unstable, something which
cannot completely guarantee its own survival, its position, its existence.

Tid för ekot, Christina Ouzounidis

During the 19th century, a city court judge and editor named Nils Herman Quiding (1808-1886) lived in a two-story house on Östergatan in Malmö. Quiding was, in many ways, a contradictory and ambiguous man – officially deeply rooted in the bourgeois sphere, unofficially occupied by imagining a different kind of society under the pseudonym Nils Nilsson Workman. He believed that only through the study of history and learning from previous mistakes could society be reconstructed. His goal was, among other things, to establish a small-scale, egalitarian society that opposed the centralized nation state and questioned the conventions of both marriage and social hierarchies. While Quiding’s ideas were radical and provocative, he formulated them as legal paragraphs formally impeccable.

A House of Several Stories accommodates the inherent complexities of being human and how we relate to the constructed frameworks and different opinions that seek to objectively summarize the world we live in and how we should act in it – in relation to each other. Beyond the current claims on what is right and what is wrong, is there at all space for ambiguous narratives that will shake the ground we stand on?

As a newspaper editor in Malmö, Quiding’s work was characterized by a strong belief in public discussion. It is the public discourse that forces regimes to reform and the importance of this fact cannot be stopped by those with power and privilege. Therefore, said Quiding, the editor’s role is extremely important and should not be reduced to that of a “minister of mirth” attracting readers with anecdotes. Publicity is the sun of the immaterial world, he continues, and expanding the scope of public discourse must therefore include everything that can be the object of human knowledge. The task is as clear as daylight: to illuminate the dark areas of society through the access to public discussion.

 

The information about Quiding is collected from the book Det okända landet. Tre studier om svenska utopister by Ronny Ambjörnsson.

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A House of Several Stories, Installationsvy från utsidan/Installation view from outside. Foto/Photo: Lotten Pålsson

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A House of Several Stories, Installationsvy/Installation view Foto/Photo: Lotten Pålsson

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A House of Several Stories, Installationsvy/Installation view Foto/Photo: Lotten Pålsson

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Hamza Halloubi, Letter from Tangier, 2014. Foto/Photo: Lotten Pålsson

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Hamza Halloubi, Letter from Tangier, 2014. Video still. Foto/Photo: Hamza Halloubi

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Hamza Halloubi, Letter from Tangier, 2014. Video still. Foto/Photo: Hamza Halloubi

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Nevin Aladag, Paravent/Social Fabric #3, 2013. Installations vy/Installation view. Foto/Photo: Lotten Pålsson

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Nevin Aladag, Paravent/Social Fabric #3, 2013. Installations vy/Installation view. Foto/Photo: Lotten Pålsson

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Anna Nordquist Andersson, I See Through You, 2008-2012. Installations vy/Installation view. Foto/Photo: Lotten Pålsson

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Anna Nordquist Andersson, I See Through You, Despair, 2008-2012. Foto/Photo: Anna Nordquist Andersson

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Anna Nordquist Andersson, I See Through You, New Jersey Graveyard, 2008-2012. Foto/Photo: Anna Nordquist Andersson

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Jumana Emil Abboud, I Feel Nothing, 2013. Installations vy/Installation view. Foto/Photo: Lotten Pålsson

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Jumana Emil Abboud, I Feel Nothing, 2013. Video still. Foto/Photo: Jumana Emil Abboud

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Jumana Emil Abboud, I Feel Nothing, 2013. Video still. Foto/Photo: Jumana Emil Abboud

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Jumana Emil Abboud, I Feel Nothing, 2013. Installations vy/Installation view. Foto/Photo: Lotten Pålsson

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A House of Several Stories, Installationsvy från utsidan/Installation view from outside. Foto/Photo: Lotten Pålsson

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Christina Ouzounidis, Tid för ekot, 2013. Detalj/Detail. Foto/Photo: Lotten Pålsson

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Christina Ouzounidis, Tid för ekot, 2013. Detalj/Detail. Foto/Photo: Lotten Pålsson

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A House of Several Stories, Installationsvy/Installation view. Foto/Photo: Emma Reichert

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A House of Several Stories, Installationsvy från utsidan/Installation view from outside. Foto/Photo: Lotten Pålsson

Occult Geometry

Sunday 26 October 2014
3pm at Kunsthal Charlottenborg

Combining and transforming elements from Tao diagrams, the Japanese sport of precision walking and ideas on geometrical abstraction articulated in the work of artists Hilma af Klint and Wassily Kandinsky, a group choreography with 20 dancers and movers will be performed in conjunction to the exhibition Occult Geometry. The performance is developed in collaboration between Dutch choreographer Marjolein Vogels and visual artist Jennifer Tee.

Inga undantag (No Exceptions)

A report about the conditions and challenges of small and medium-sized contemporary art centers in Sweden
Mikael Löfgren

Inga undantag (No Exceptions) is the title of a new report by Mikael Löfgren produced by Klister, a nationwide network for small and medium-sized contemporary art centers in Sweden. In the report, Löfgren argues that the demand for measurability and immediate numbers that characterizes contemporary cultural discourse is not suitable for evaluating the work of smaller art institutions. Löfgren also argues that what primarily characterizes the work of these art centers is their ability to establish effective networks locally, regionally, nationally and globally, and that networking is not just a geographical phenomenon. The art centers connected to the network of Klister act as links between the public and cultural life, between education and research, and between the personal and the political.

Members of Klister: Alingsås konsthall, Bildmuseet i Umeå, Borås Museum of Modern Art, Botkyrka Konsthall, Gävle Konstcentrum, Göteborgs konsthall, Kalmar konstmuseum, Konsthall C in Hökarängen, Konsthallen Bohusläns museum, Konsthallen i Haninge kulturhus, Kulturens Hus in Luleå, Lunds konsthall, MAN-Museum Anna Nordlander in Skellefteå, Marabouparken konsthall in Sundbyberg, Röda sten konsthall in Göteborg, Signal in Malmö, Skövde kulturhus, Tensta konsthall and Örebro konsthall.

If you’re interested in receiving a pdf of the report (in Swedish) please contact: info@signalsignal.org

Signal moves to temporary location in November 2014

In the summer of 2014 Signal left the space on Monbijougatan 15 and will now move into a temporary location at Mitt Möllan, Claesgatan 8, in Malmö presenting the exhibition A House of Several Stories (21 November 2014 – 22 February 2015).

Drakabygget och Galerie S:t Petri

Presentation and discussion with Carl Magnus och Marie Sjöberg Altemani
Thursday 12 November 2009
7pm

Carl Magnus introduces Drakabygget and Marie Sjöberg Altemani introduces Galerie S:t Petri in connection to the project Parallel History.

Tone Hansen

Thursday 22 October 2009
7pm

What is the function of public space today? What defines it? How do we maintain it? Through reforms like New Public Management the structure of society has changed and the power has taken new forms. To understand art’s changing role in the public space, we have to analyze the major structural changes and investigate how they also influence the art sphere. Tone Hansen will discuss the basic juridical terms Allemannsretten (the public right to access) and Allmenning (Common land) in Scandinavia in order to shed light on a specific and vulnerable regulation that defines use of both public and private ground. Hansen vil use examples from the development of the Fjord City of Bjørvika in Oslo, as well as private initiatives such as the Capital Action that has created a set of aesthetic rules for the inner city. She will also visually represent the transition from a state that organizes its duties in the administrative bodies to a state that also manages its interests through state-owned enterprises.

Tone Hansen is an artist and curator who is currently working at the Henie Onstad Art Centre in Oslo, Norway. In 2003-2008 she was a research fellow at the National Academy of Fine Arts, Oslo, and chaired the Young Artists Society (uks) from 2001-2003. Projects include exhibitions and publications such as Megamonstermuseum; How to Imagine a Museum of Today?, the anthology The New Administration of Aesthetics (2007) and What Does Public Mean? Art as a Participant in the Public Arena (2007). Hansen has also organised a series of seminars and workshops such as A Framework for Contemporary Activism. Can Art Create A Public Sphere of its Own? and The New Administration of Aesthetics.

Tone Hansen’s stay in Malmö is part of a residency project organized by SparwasserHQ (Berlin) – Signal (Malmö) – UKS (Oslo) – rum46 (Århus) and supported by Nordic Culture Point.

Metod is a series of lectures that focuses on working methods within the field of contemporary art- and culture.

Mikkel Bolt and Jakob Jakobsen

Lecture about the Scandinavian situationism, and screening of So ein Ding (1961), a film by Jørgen Nash, Albert Mertz and Gruppe Spur.
Sunday 26 April 2009
7pm

This evening’s talk will deal with the two Situationist Movements in Scandinavia focusing on the developments that took place in Odense in 1962 and in 1963 with the exhibitions Seven Rebels and Destruktion af RSG-6 staged by respectively Jørgen Nash / Jens Jørgen Thorsen and J. V. Martin. Mikkel Bolt and Jakob Jakobsen will also address the question of how to engage with the Situationist material today.

The evening will end with the screening of So ein ding muss Ich auch haben (1961), a film by Jørgen Nash, Albert Mertz and Gruppe Spur. This film was made in the urban settings of post-war Munich and has a loosely improvised narrative with various surreal effects. The film was financed by Asger Jorn, who also made the soundtrack together with Jean Dubuffet. In 1967 Jean Luc Godard wanted to use the film as a short film to be shown before the screening of La Chinoise, but as the Situationists did not like Godard and his films, Asger Jorn rejected this offer.

Mikkel Bolt is an art historian with a PhD on the Situationist International and Jakob Jakobsen is an artist and cofounder of Copenhagen Free University together with Henriette Heise. In 2007 Bolt and Jakobsen organised Expect Anything Fear Nothing, a seminar on the Situationist Movement in Scandinavia that was held in Copenhagen.

The talk will be held in English.

Ilya Lipkin

Sunday 25 January 2009
7pm

In conjunction with our current research project on the non-institutional art initiatives in the south of Sweden during the period of 1968-2008, Signal has invited the artist Ilya Lipkin to present a talk on vanguard art and politics in Northern Europe.

Using the history of the Situationist International, and particularly the split between the Scandinavian SI and the 1′IS as a point of departure, Ilya Lipkin will discuss the legacy of radical aesthetic and political movements in Scandinavia, while considering the possibilities for alternative institutions today. In light of the most recent global crisis of capital, there is an urgent need to re-examine the role and framework of cultural production, as well as its entanglement with the neo-liberal order, if we are to imagine new ways of structuring the relationship of art to larger social realities. A discussion will follow–all are encouraged to attend.

For this occasion a poster has been produced through a collaborative process between Ilya Lipkin and Jacqueline de Jong, editor and publisher of the Situationist Times between 1962 and 1967.

Ilya Lipkin’s stay in Malmö is part of a residency project organized by SparwasserHQ (Berlin) – Signal (Malmö) – UKS (Oslo) – rum46 (Århus) and supported by Nordic Culture Point.

Sonia Dermience

Thursday 4 February 2010
7 pm

Sonia Dermience (b. 1971) is a curator based in Brussels. In 2002 she founded Komplot, a curatorial collective concerned with nomadic creative practices, trends of specialization and the infiltration of private, public and institutional space. She has conducted extensive research into post ’68 collaborative art practices in her native country of Belgium; organizing seminars and making two documentary films with artist Kosten Koper as Catherine Vertige. This research is on-going with the production of a new film and other projects which deal with the collaborative context.
http://www.kmplt.be/

Sonia Dermience is in Malmö through Residency Far Away So Close and is curating the project Y The Black Issue at Ystads konstmuseum, February 6 – March 14 2010.

The evening will be held in English.

Metod is a series of lectures that focuses on working methods within the field of contemporary art- and culture.

Dorothea Jendricke

Thursday 25 February 2010
7pm

Dorothea Jendricke (b. 1975) is a curator based in Berlin, Germany. She will take on the position of the director at Neuer Aachener Kunstverein – NAK in April 2010, as well as she is co-curating a performance event for June 2010 at the Witte de With, Rotterdam, in the context of Morality (together with Renske Jansen). In 2008-2009 she was assistant curator at the Portikus in Frankfurt and prior to this she worked for Berlin based gallery Esther Schipper and collaboratively organized Center, a project space with a program focused on performativity. She also (co)initiated and organized further projects in Berlin such as the interdisciplinary Schinkel Progressive Residency, the studio house Zentralbuero, and other. Dorothea Jendricke is a contributor to among others Flash Art and Artforum.

She currently resides in Malmö invited by Residency Far Away So Close and is curating the project Throwing Three Balls in the Air to Get a Straight Line presenting works by John Baldessari (USA), Simon Denny (NZ), Mario Garcia Torres (MEX), Thomas Kratz (D), Falke Pisano (NL), Ryan Siegan-Smith (UK), opening at Malmö Konsthall on March 3, 2010; on view through April 11.

The talk will be held in English.

FINE ART UNION

Tuesday 16 March 2010
7pm

FINE ART UNION will give a performative presentation at Signal.

FINE ART UNION was established in 2006 as an interdisciplinary and performative collaboration directed and produced by; Annette Stav Johanssen (NO) and Synnøve G. Wetten (NO).

FINE ART UNION investigates regimes of power, queer identities, future primitive theories and shock jock behavior – using satire, caricature and sadomasochistic play.

FINE ART UNION operates in public spaces, white cubes, black boxes, publications and on club stages as well as the World Wide Web.

FINE ART UNION has exhibited at Hannover Kunstverein/Crosskick Platform, Black Box Teater, Vestfossen Kunstlaboratorium, Galleri 21, Wight Biennial 2008 and Wildness/Silverplatter, LA.

The evening will be held in English.

Samtal
We welcome you to the series of talks entitled Samtal (conversation) where artists working in Malmö are invited to discuss and reflect on their practice and their working process. With this series of talks we want to focus on the driving forces, sources of inspiration and references in order to share knowledge and talk about what we consider important and what makes us want to keep on working.

Anna Nordquist Andersson

Tuesday 23 March 2010
7pm

We welcome you to the series of talks entitled Samtal (conversation) where artists working in Malmö are invited to discuss and reflect on their practice and their working process. With this series of talks we want to focus on the driving forces, sources of inspiration and references in order to share knowledge and talk about what we consider important and what makes us want to keep on working.

 

Benjamin Thorel, castillo/corrales

Sunday 11 April 2010
5 pm

Metod is a series of lectures that focuses on working methods within the field of contemporary art- and culture.

Mayo Thompson and the Red Krayola

Mikael Nordlander
Tuesday 11 May 2010
7pm

In conjuction with the exhibition Breaking Point: Kathryn Bigelow’s Life in Art that traces Academy Award winner Kathryn Bigelow’s presence in the art world in the 1970s in New York and her collaboration with Lawrence Weiner, Art & Language, Richard Serra, Sylvère Lotringer, the Red Krayola and others Signal has invited the music critic Mikael Nordlander to talk a bit about Mayo Thompson, the brain behind the Red Krayola. Departing from some ten songs he will present parts of a history that is still being written. From a psychedelic band in Houston in 1966, via a solo album and New York in the 1970s, to England and post-punk London in 1978 and on to today’s view of a musician that doesn’t seem to want to stop playing music.

 

On the aesthetics of editorial work and its potential as an artistic method

Frans Josef Petersson
Thursday 27 May 2010
7pm

In conjuction with the exhibition Breaking Point: Kathryn Bigelow’s Life in Art that traces Academy Award winner Kathryn Bigelow’s presence in the art world in the 1970s in New York and her collaboration with Lawrence Weiner, Art & Language, Richard Serra, Sylvère Lotringer and others, Signal invites you to an evening on the aesthetics of editorial work.

The editor is both worker and supervisor. At the same time subject to an assignment and to the task of supervising the entire production. The editor is an authority, a controlling instance, constantly undermining his own position. Constantly  justifying his actions like a defendant towards a higher end. A vulnerable position with a tendency to act on the edge of total collapse.

Frans Josef Petersson (Aftonbladet, OEI) will talk about the aesthetics of editorial work and its potential as an artistic method.

The talk will be held in Swedish.

Andreas Kurtsson

Wednesday 9 June 2010
7pm

We welcome you to the series of talks entitled Samtal (conversation) where artists working in Malmö are invited to discuss and reflect on their practice and their working process. With this series of talks we want to focus on the driving forces, sources of inspiration and references in order to share knowledge and talk about what we consider important and what makes us want to keep on working.

 

Johan Tirén

Tuesday 14 December 2010
7pm

Johan Tirén will talk about his practice starting from the poster series Notes in connection with the celebration of a National Day, which is currently on view in the exhibition !? at Signal.

Metod is a series of lectures that focuses on working methods within the field of contemporary art- and culture.

The history of disco

Olof Olsson
Wednesday 27 January 2010
7pm

“I lost my heart to disco a few weeks after I’d become a teenager. It was a very cold night in January, 1979. I lived in a small town in Sweden, where there wasn’t much entertainment. I had a transistor radio, but there was a state monopoly on broadcasting, with only two hours of pop every week. That winter night, a bit past midnight, I discovered a local pirate station. And for the first time in my life I heard songs like ‘Le Freak’ and ‘In the Bush’. It was a completely overwhelming cultural experience.” Olof Olsson

Olof Olsson, artist based in Copenhagen, is on a European tour with his performance/lecture on the history of disco. Disco’s message of love was a politically charged one, demanding equality, freedom and fun for everyone. The next stop is Malmö and Signal – Center for Contemporary Art where Olof Olsson will play musical examples, and reflect on their role and relevance to the development and decline of the sound and social experience of disco.

Olsson lives in a one-room apartment in Copenhagen together with 6000 vinyl records – most of them disco. He has studied philosophy, languages and translation theory at Lund University, and art at the Royal Academy of Fine Arts in Copenhagen. In the 1980s he worked extensively as a pirate and community radio DJ.

The evening will be held in English.

With support from The Danish Arts Council.

 

Born in Flames (1983)

by Lizzie Borden
Tuesday 27 April 2010
7pm at Biograf Spegeln, Malmö
Tickets: 50 SEK

In conjuction with the exhibition Breaking Point: Kathryn Bigelow’s Life in Art Signal and IFEMA – International Female Film Festival Malmö organise a film screening of Lizzie Borden’s film Born in Flames (1983), where Kathryn Bigelow plays one of the parts. Ingela Brovik, film critic, will introduce the film.

“1983′s Born in Flames shows Lizzie Borden in full glory, a feminist filmmaker bursting with ideas and vision. The setting is the future, New York City 10 years after the Social Democratic War of Liberation. Technically, that makes Born in Flames science fiction. But the future depicted here is not one of laser guns and spacesuits. Borden’s American future looks remarkably like our present. Rape, day care, and discrimination are still unresolved issues in this new society. With sexual oppression the norm, women in this post-revolutionary world are still faced with the strategic decision of how to effect a social structure that is responsive to their needs and goals. The more things change, the more things stay the same. Born in Flames is a complex interweaving of characters, music, images, voices, editing, conflicts, and humor. It combines techniques of deconstructionist cinema and conventional narrative filmmaking and throws them together at a brisk pace that propels it all.” Marjorie Baumgarten

Conceptual Paradise: There is a place for sophistication (2006)

by Stefan Römer
Wednesday 19 May 2010
7pm

In conjuction with the exhibition Breaking Point: Kathryn Bigelow’s Life in Art that traces Academy Award winner Kathryn Bigelow’s presence in the art world in the 1970s in New York and her collaboration with Lawrence Weiner, Art & Language, Richard Serra, Sylvère Lotringer and others Signal organises a film screening of Stefan Römer’s film “Conceptual Paradise: There Is a Place for Sophistication” (109:30 min).

The film essay traces out the debates that allowed the intellectual art movement of Conceptual art to emerge in the 1960s and led to some of the most relevant questions in art today. The artists speak about their own artistic practices and the socio-historical development of the various conceptual movements. In so doing, it becomes clear that there can be no one valid definition of conceptual art, since a permanent engagement also makes up its theoretical and philosophical complexity, including for example the question of whether there can be art without an object.

In these discussions, the fiction and ideal of art as political engagement are brought to life. The history of art is a history of struggles around strategies of representation. This makes this film about Conceptual art also a film about filmmaking. Stefan Römer reflects in numerous passages of the film with the well-known German filmmaker Hartmut Bitomsky about the documentary as a genre.

Artists: Vito Acconci, Art & Language (Michael Baldwin, Mel Ramsden), Michael Asher, John Baldessari, Robert Barry, Hartmut Bitomsky, Mel Bochner, Gregg Bordowitz, Klaus vom Bruch, Daniel Buren, Victor Burgin, Luis Camnitzer, Jan Dibbets, Mark Dion, Sam Durant, Valie EXPORT, Stano Filko, Andrea Fraser, Liam Gillick, Dan Graham, Renée Green, Shilpa Gupta, Hans Haacke, Július Koller, Joseph Kosuth, Sonia Khurana, David Lamelas, Sol LeWitt, Thomas Locher, Marcel Odenbach, Yoko Ono, John Miller, Adrian Piper, Yvonne Rainer, Allen Ruppersberg, Ed Ruscha, Martha Rosler, Allan Sekula, Peter Weibel, Lawrence Weiner, Stephen Willats, Heimo Zobernig.

Curators/Theorists: Alexander Alberro, Benjamin H.D. Buchloh, Sabeth Buchmann, Charles Harrison (Art & Language), Geeta Kapoor, Geert Lovink, Seth Siegelaub, Gregor Stemmrich.

Music with roots in the aether – a portrait of Alvin Lucier (1976)

by Robert Ashley
Tuesday 7 September 2010
8pm

With an introduction by Frans Gillberg and Mathias Holmberg.

In connection with the opening of this year’s sound installation in Scaniaparken (Starfield Simulation #35), Signal – Centre for Contemporary Art, in collaboration with Music Doc, will screen Robert Ashley’s documentary on one of the pioneers of sound art, Alvin Lucier (b. 1931).

In his sound art, Lucier makes use of different scientific phenomena to create music where the composer is placed in the background and the physical and spacious aspects of sound itself become central. Music for a long thin wire and I am sitting in a room are two of his most well-known pieces, the latter being an attempt to erase his stammering speech by recording it, then playing back the recording into the room and re-recording it until the echo of the room replaces his voice.

The documentary is screened in conjunction with Alvin Lucier’s piece Sferics that will be performed by the Dutch artist Anne Wellmer in Scaniaparken. Sferics is a recording of electromagnetic disturbances, where their distance from earth is reflected in the character of the sound. The parabolic shape of Scaniaparken creates a kind of sci-fi-esque monitoring of information, a point of contact with outer space.

Anne Wellmer studied under Alvin Lucier and her sound installations, sound walks and radio art have been presented internationally in festivals and biennales such as New York Electronic Arts Festival, Happy New Ears in Kortrijk and Ars Electronica in Linz, where she also received an award of honour.

Scaniaparken, Sept 4 – Oct 3, 2010
A collaboration between Starfield Simulation, Signal – Center for Contemporary Art and Full Pull.
http://scaniaparkproject.blogspot.se/

 

Nordic Reputation in The World: A Passpartout

Jeuno JE Kim
Monday 29 November 2010
7pm

The lecture introduces the idea of self-branding and self-exotification to debates about identity politics and specifically formation of national identities. It investigates Nordic and Scandinavian representations of itself to the rest of the world, and what are prevailing ideas and discourses produced by others onto this region. The lecture examines how Scandinavia has branded itself since the Cold War, and how Scandinavian “specialness” and Nordic “exceptionalism” are challenged and altered since the post-Cold War period until now. A passepartout has two meanings, first as something that passes everywhere and second as a method of framing where a cutout cardboard is placed between the glass and the picture. The lecture asks how narrated histories and handling of historical documents determine the nation and its representation, and how points of comical tension and chance are strategies within an artistic research that can address issues of pertinence in our societies. Nordic Reputation in The World: A Passepartout is part of the collaborative project Everything for Everyone by artists Ewa Einhorn and Jeuno JE Kim.

The Mess and the Bless — Inside the Independent Art World

Tuesday 30 November 2010
7pm at Chisenhale Gallery, London

A conversation between Benjamin Thorel (castillo/corrales, Paris) and Elena Tzotzi (Signal, Malmö) on working methods, curatorial collaboration, cultural politics and stubborn visions.

Signal is a non-profit organisation founded in 1998 focusing on the production, presentation, discourse and diffusion of contemporary art and thought, run by a collective of artists and curators. Over the years, Signal has developed a central focus on exploring the possibilities of a collaborative curatorial practice and the manifold functions of an art arena.

castillo/corrales is a shared office space and collectively-run gallery initiated early 2007 by a group of artists, curators, critics and writers.

www.signalsignal.org
www.castillocorrales.fr

We are the good ones: The public debate on the Swedish Democrats and their politics

Anders Hellström
Friday 3 December 2010
6pm

In his book We are the good ones, political scientist Anders Hellström examines the role of the Swedish Democrats in swedish politics and public debate, and puts them in relation to the currents of populism and xenophobia in the rest of Europe.

Malmoe Free University for Women (MFK)

Wednesday 6 April 2011
7pm

“When we proclaimed Malmö Free University for Women (MFK) in 2006, it was done with a promise to fight for room for political action at a specific time, in a specific place. Six years later, we are standing here with a decision to end MFK, but to transform all the theory and practice into a collective mode of action. We have collected our knowledge and experiences in a manual - Do the Right Thing” – MFK

MFK will use their book “Do the Right Thing – en handbok från MFK” as a starting point to discuss working methods and strategies for their practice in dialogue with the audience.

 

Emil Broomé and Carl Lindh

Wednesday 9 March 2011
7pm

Ubu-Websday is a new series of events where invited guests are asked to present a personal selection of material from one of the largest web-based archives, www.ubuweb.com. UbuWeb is an independent, non-commercial initiative founded in 1996 by poet and professor Kenneth Goldsmith, initially as a repository for visual, concrete and, later, sound poetry. Over the years, UbuWeb has embraced all forms of the avant-garde and beyond and its parameters continue to expand in all directions.

“The pioneers of concrete poetry could only dream of the now-standard tools used to make language
move and morph, stream and scream, distributed worldwide instantaneously at little cost.”

Every Ubu-Websday two guests will introduce a programme of 30-45 min each offering an opportunity to discover the treasures of UbuWeb and together with others.

Emil Broomé, Malmö. Concert and club organiser, sommelier and whine importer. Runs the record label Lugnet records together with Tiaz and the music blogg Prejka together with many others, http://prejka.se/

Carl Lindh is an artist and musician, and part of Signal. He has a particular interest in environmental sound and site specificity in relation to improvised music and the act of listening as a possible esthetic practice. He runs the publishing house In Edit Mode Press together with artist Ola Ståhl.

 

Death Metal Angola

A film by Jeremy Xido
Duration: 83 minutes
Thursday 22 May 2014
7pm

After a fourteen-year struggle for independence followed by more than a quarter-century of civil war, Angola is a country sunk in devastation. Hardcore death metal, thrash metal and melodic death-core; this is the music of a generation of people growing up with the failed promises of post-war Angola. They consider themselves on the brink of a new history, but are disappointed by failed attempts to reconstruct their country after the war. Through music and the truth it expresses, they are picking up the fragments and tell a compelling new story.

Two people running an orphanage have a dream. Sonia Ferriera and Wilker Flores, who run the Okutiuka orphanage in Huambo, are going to mount the first-ever national rock concert. Huambo is a symbolic site for the event. This was one of the hardest-hit cities in the war and is nowadays a desolate landscape surrounded by mine fields. War-ravaged and potentially the richest country in Africa, Angola has become the epicentre of the African hardcore music scene. Far from the nihilist connotations attached to death metal, in this context it is very much a life-affirming event. A new wave of musicians is approaching with a strong conviction of the immense potential in music for the reconstruction of their country in ruins. They are Angola’s new history, they are the young revolution and the salvage for a nation lost of identity through years of conflict.

Guest Publisher: TankeKraft

April−June 2014

TankeKraft is a publishing house co-founded by Rasmus Redemo and Oskar Söderlind in the autumn of 2003. Their first publication was released the following summer and today they work on amongst other things Swedish translations of works by Deleuze & Guattari and Spivak. Tankekraft is and always will be a small and from the margin striving publishing house with the focus on releasing distinct literature with a political motif. TankeKraft operate from the conviction that political theory and political practice presuppose one another. By bridging between the most vital and innovative academic discussions and a politically engaged public they aim to function as an open platform for inclusive and viable visions for society.

Previous Guest Publishers in the book shop have been: Sailor Press, Paraguay Press, In Edit Mode Press and * [asterisk].

Au Hasard Balthazar

by Robert Bresson
Introduction by Andreas Mangione
Tuesday 25 March 2014
7pm

Au Hasard Balthazar (1966) is the seemingly simple yet profoundly moving tale of a donkey in rural France. Passed from one owner to the next, treated in turn gently and harshly, Balthazar inhabits a word beyond his control. But through silence and powerlessness his trajectory becomes a stirring, transcendental allegory of purity and hope.

The film is 91min with English subtitles.

Soundscapes of the past and the present

Cajsa S. Lund
Tuesday 8 April 2014
7pm

In our modern society sound is almost constantly present. In pre-historic times, there were more of silence. Our listening habits depend on the sound in our environment, but the meaning attached to sound also determine how and what we listen to. Certain sounds are considered more important to listen to, other less. Can we even understand how people listened in pre-historic times and what did the world sound like? And what do we know about the soundscapes that they produced with voice and instruments?  These are some of the interesting questions music archaeologist Cajsa S. Lund will try to answer in her talk. She will also bring a large number of ancient sound devices that she will demonstrate and talk about.

Persona (Repetition & Change)

Fatima Hellberg
Tuesday 4 February 2014
7pm

What marks off the “self” is method; it has no other source than ourselves: it is when we really employ method that we really begin to exist. As long as one employs method only on symbols one remains within the limits of a sort of game.
Simone Weil, Lectures on Philosophy, 1929-30

Why Simone Weil? Why do so many of my notes return to Weil – French philosopher, mystic, political activist and ‘most radical philosopher of sadness’. There are many reasons but above all, there are few thinkers as suitable for a lecture on method: for Weil, both self and world are constituted only through informed action upon the world. This is a talk that grapples with conditions of self-representation and where it meets method, and co-option – of how through a discussion on persona, interiority and identification, we might be able to get closer and break through some of the staged processes and shared neuroses that shape the conditions for making and showing work.

The evening will move across moving image and text: drawing on the writings of Simone Weil; the work of pioneering Los Angelean video artist Cynthia Maughan; and the reprise, effects and doubles of Brice Dellsperger.

Fatima Hellberg is a London based curator and writer. She is curator of Cubitt Gallery and associate curator of Electra. She has curated projects in the UK and internationally with exhibitions and projects at amongst others: Tate Modern, London; Badischer Kunsteverein, Karlsruhe; ICA, London; Malmö Konsthall and the South London Gallery. She writes for Frieze, Afterall Journal and various independent publications.

 

 

 

Occult Geometry

Jennifer Tee

18 September–2 November 2014
Opening Thursday 18 September 7-10pm
at Kunsthal Charlottenborg

Intricate and almost impossible ceramics, hand-knitted crystalline floor pieces, swirling and balancing wooden bows reminiscent of bones, electromagnetic waves and other invisible currents. The work of Jennifer Tee, comprised of sculpture, installation, performance, photography and collages, is the exploration of a continuous dialogue between material experimentation and philosophical contemplation.

In Occult Geometry elaborate titles like Primordial Chaos~Selfhood Meltdown and The movement of the triangle / Talisman to vitalize the lungs are paired with Tee’s visual and sculptural language that captures and re-activates occurring themes within western art history imbued with eastern philosophy. For companionship throughout this particular exploration, Tee has turned towards the work and thinking of artists Hilma af Klint and Wassily Kandinsky, as well as the practice of Tao Magic – a secret language of diagrams, talismans and charms in Chinese art dating from the Tao-tsang, the early Ming dynasty. Rather than referencing these overtly rich and complex sources, Tee has chosen the bold endeavor of internalizing them. With this strategy, getting slightly too close to the source is a risk at stake. But on the other hand it opens up for the possibility of an intimate dialogue and a process of translation that invites us into an understanding that is personal, intuitive and subjective. A parallel contribution to the existing knowledge so far.

Jennifer Tee translates her points of inspiration – the visual and intellectual investigation of spiritual dimensions present in the practice of af Klint, Kandinsky and the Tao – and while these influences are clearly recognized in the composition and geometrical arrangement of her objects and imagery, Tee simultaneously transforms them into an organic study of the notion of sculpture. The importance of Tao Magic, for example, lies in the dual aspect of being both an artistic carrier of spiritual truths that embody the concepts of Tao philosophy, and a means of communication with the spirits geared towards everyday needs such as building, planting, and harvesting or curing sickness, blessing marriage, and guarding against calamities. Tee’s objects and drawings take on this duality and hover between their concrete form and their loaded potential as carriers of an anticipated action, ritual, animation. This possible fluidity between different states of being transforms the reading of a knitted rug into a kaleidoscopic crystal and a space for meditation, the ceramic cones into intricate totems and magical vessels that hold charged matter, the balancing bamboos into elegant bones and electrical currents. The transparency of a solid surface is paired with the possibility of concealing something mystical inside it. The transitional quality and the shifting function of a sculpture, that can become a stage for a choreography of future actions and movements, energizes the room.

These simultaneously formal and intellectual concerns amalgamate in the challenging attempt to visualize the fragile relationship between mind, body, and spirit.

The exhibition is curated and produced by Signal – Center for Contemporary Art, and presented at Kunsthal Charlottenborg in Copenhagen. The exhibition is supported by the Mondriaan Fund, the Swedish Arts Council, the Culture Deaprtment of Malmö and the Culture Administration of Region Skåne.

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Jennifer Tee, Occult Geometry, Kunsthal Charlottenborg, Köpenhamn/Copenhagen

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Leif Holmstrand and Charlotte Walentin

Wednesday 11 December 2013
7pm

Ubu-Websday is a series of events where invited guests are asked to present a personal selection of material from one of the largest web-based archives, www.ubu.com. Our guests this evening are the artists Leif Holmstrand and Charlotte Walentin. They will each introduce a programme of approx. 30-45 min offering an opportunity to discover the treasures of UbuWeb together with others.

the sound is gone but not forgotten

Andreas Mangione

21 February–18 May 2014
Opening Friday 21 February 7-9pm

In some parts of Japan there is a tale about the Yamabiko (Echo), a spirit creature that dwells in the mountains. Very seldom seen but more often heard, it is the Yamabiko that replies back to you when you shout out. It is the embodiment of echo. Nowadays, however, some say that the Yamabiko is on the brink of extinction. They say it is because nature is getting more and more silent. The question is if they mean the kind of silence that appears when there is no one listening. Listening is not a very favoured skill in our society. What counts is speech and rhetorics.

Now, try and imagine a different form of listening, a listening that zooms in on everything from the weakest of sounds to the loudest of noise. A kind of listening that opens up a new universe both within the sounding and the silence of objects. A listening that can be applied on all things, like a new way of seeing.

To approach such a listening, one could for instance begin with the following kōan:

What is the sound of one hand clapping?

A kōan is a kind of philosophical trigger to provoke the “great doubt” in order to test one’s progress in Zen-practice. To dwell on details through the act of listening, observing and a close examination of all things around you is where Andreas Mangione’s artistic practice unfolds. A practice where found things trigger the imagination, the day dream and the creative process. Like a drift. He collects things, the remains of actions, events and broken promises left behind in between the buildings in his immediate surroundings, the suburbs of the city. Leftovers he manages to carry with him home. The insignificant parts of society. Burned pieces of wood, stones, fragments of concrete, pieces of metal and plastic, and so on. Found shapes and objects which then reappear in his works. Coincidence and a feeling of wonder when a thing happens to resemble another thing are focal points in his quest to open up different layers of meaning within the objects and shapes he finds.

Like a sonar Andreas Mangione scans the terrain he is passing through on his everyday walks, on the same paths through his neighbourhood. The remains, the small insignificant parts, catch his eyes and ears. The details of everyday life. Fragments, but also vessels for inherent stories. These stories are then assembled, rearticulated and told through sculpture and drawing. A continuous transformation, silent but with the act of listening very present.

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Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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Andreas Mangione, the sound is gone but not forgotten, 2014. Foto/Photo: Jenny Lindhe

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Andreas Mangione, the sound is gone but not forgotten. Detalj/Detail. Foto/Photo: Jenny Lindhe

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Andreas Mangione, installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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Andreas Mangione, ur den här friheten och in i en annan, 2014. Foto/Photo: Jenny Lindhe

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Andreas Mangione, ur den här friheten och in i en annan, 2014. Detalj/Detail. Foto/Photo: Jenny Lindhe

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Andreas Mangione, installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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Andreas Mangione, en ny form växer upp; optimisten; augusti. Foto/Photo: Jenny Lindhe

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Andreas Mangione, installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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Andreas Mangione, installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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Andreas Mangione, installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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Andreas Mangione, we know of your plans yet we are the secret, 2014. Foto/Photo: Jenny Lindhe

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Andreas Mangione, installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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Andreas Mangione, utsikt, 2014. Foto/Photo: Jenny Lindhe

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Andreas Mangione, towards the end station; death and sleep playing hide and seek; O tänkandets historia. Foto/Photo: Jenny Lindhe

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Andreas Mangione, installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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On Translation

Kristina Lee Podesva
Thursday 7 November 2013
7pm

The task of translation is not limited only to the process of inter-linguistic correspondence. For artists especially, this activity opens up the potential for inter-semiotic transmission and transmutation as well. And, through this type of translation, new relationships of signification may emerge in a context where the purported facts, points of origin or terminus, as well as faithful and accurate analogues are less important than the experience of engagement, which lends itself to an aesthetics of encounter and perhaps even of knowledge production. About some of the possibilities and problems of translation in an art context, artist and Fillip editor Kristina Lee Podesva will speak through a series of anecdotes, amateur research findings, philosophical frustrations, and confessions.

Kristina Lee Podesva is an artist, writer, and Editor at Fillip based in San Francisco. Fillip is a Vancouver-based organization that presents art, culture, and ideas primarily in the form of Fillip magazine. In addition to the magazine, Fillip publishes books, special projects, as well as public talks and symposia including Judgement and Contemporary Art Criticism (2009), Intangible Economies (2012), and Institutions by Artists (2012).

 

Is Representation the Answer?

Mikela Lundahl
Wednesday 30 October 2013
7pm

Museum collections are created on assumptions that have seen their hay days. This is a fact that all museums are well aware of and they are looking for strategies to deal with their legacy in the form of collections, exhibition spaces and methods, created in a colonial, hetero normative, bourgeois, patriarchal world order. The fact that there does not appear to be a simple way out of this, reflects not only the failures of the museums to manage their own problematic history, but also a major contemporary uncertainty about how to handle categories like nation, race and people. All of these concepts have throughout history been political and politicized, and we all have a relationship to them, but not necessarily the same one. What is it that makes them so hot to handle and how do they affect our practice and our everyday politics? The historian of ideas and cultural researcher at Copenhagen University, Mikela Lundahl, will lecture around this subject together with contemporary examples.

 

 

Malmö Gallery Night 2013

Saturday 28 September 2013
6pm−midnight

On view is the exhibition Reading: “The World in Which We Live” with works by Dan Graham, Camille Henrot and A-L. Löfberg.

Please note that we will be closed during the day, but open as usual on Sunday the 29th between noon-4pm.

Not recruiting – Spam mail

We are sorry to hear that someone by the name of Jennifer Bishop, human resource manager, is announcing vacancies at Signal. This is not correct, please discard any such email that you might be receiving. Thank you!

 

NARROW-COLD LOVEL

David Douard

22 November 2013–9 February 2014
Opening Friday 22 November 7-9pm

A preface

In the opening scene of George Romero’s Land of the Dead the camera sweeps over what seems to be a desolate landscape. Maybe a park, maybe a fun fair. However, it is not deserted. It is inhabited by a different type of being. The living dead. In a pavilion a group of them have formed something that looks like a band. They play together. They have no idea how to use their instruments. They have no idea of tune nor rhythm. They have no idea of music. But they play nevertheless. A collective affirmation between dead beings. Something new is being articulated. Through their inability, through a loss of history and knowledge, through a collective endeavour. A kind of revolt against the existing order? A refusal? If this collective articulation is a revolt, the music played might be the return of their lost souls.

The exhibition

Skin. A door. Yellow light.

The eggs in the space are all empty. The beings growing inside are long gone. No bodies, only frames and containers. Remains. A deserted landscape. What is left is a silent collective of dead objects. Without a language and the ability to speak. Between the silence of the objects and the tattoo-like statements written on their skin something new is being formulated. Formless. Quiet. A re-framing of words and statements, like whispers. A language articulated by objects. A return. A protest. A reappearing of lost souls. Counter strategies of DIY and hacker culture, teenage behaviour and distortion. Modified objects. Found text and projected images. Artificial environments and constructed collectivity. Infected collages of things, ideas and matter of facts. This is the weave of David Douard. On the skin, always on the skin. On the surface between things and states. As a reflection.

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

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David Douard, NARROW-COLD LOVEL, 2013. Installationsvy/Installation view. Foto/Photo: Jenny Lindhe

Reading “The World in Which We Live”

Dan Graham, Camille Henrot, and a herbarium by A-L. Löfberg

29 August–10 November 2013
Opening Thursday 29 August 7-9pm

Versatile, courageous, contrary, intuitive, unpredictable, impulsive, impatient, original. This could be the initial words of a horoscope, or the introduction to an exhibition that unfolds into the way that we look at the world.

Knowledge and belief, scientific facts and information are often easily mistaken for one another. A sense of humour and shadows of doubt are helpful tools to blur those somewhat arbitrary boundaries, as is to plunge deep into existing pools of ideas and emerge with a new set of complex constellations of connections and contradictions. This show celebrates the hybrid nature of things, which in turn constitutes its logic.

Odd pairs like research and pleasure, intention and chance, poetry and politics, controversial and consistent, misreading and invention are not supposed to explain the world. Over time things shift, their reading shifts. Things that were not meant to be collected reappear, and things that should have been preserved disappear. As in the collection of flowers and plants pressed and preserved in daily newspapers between 1968-71, iconic years in recent Western history. This particular pairing, flowers and daily news, was not meant to survive. Yet it did, and today the delicate flowers from a private garden live on as a piece of intricate historical documentation. On Sunday 20 July 1969, the front page reports on the legendary moon-landing that was to take place that same evening. Embedded in this historical moment is another trace of time only revealed by the choice of words when wondering whether the wives of the astronauts would become space-widows or hero-wives.

The configuration of things that seemingly do not go together tenders a reading that surprises, inspires and eventually disrupts a couple of given truths. To compose an encyclopaedic video on the history of the universe and set yourself the challenge of retelling the story of the creation could very well be dismissed as an impossible act of hubris. And yet the pulsating sound beat, the spoken word poem, the flow of images and layers of meaning and associations elegantly assembled by Camille Henrot in Grosse Fatigue (2013) rocks our world. Footage from the treasures of prestigious collections alongside images recognizable from here and there open windows that unfold the vast, infinite mass of information in impossible excess.

Transferring a particular reading into an expanded realm that connects the personal and the universal to explore shifts in individual and group consciousness and the limits of private and public space is a cornerstone in Dan Graham’s multifarious practice. Embracing theoretical writing, text pieces, performances, video works, installations, and architectural interventions, the Architecture/Astrology horoscopes co-written with Jessica Russell and published as a column for Domus magazine in 2011-12 resonate with the expanded logic of the hybrid. Filled with true appreciation, humour and sharpness, the horoscopes mirror the canon of Architecture as we didn’t know it.

Humans seem to have a compulsive obsession to catalogue the world – science, astrology, museums, archives, herbariums, encyclopaedias, and the list goes on. From these resources, once in a while, fascinating hybrids arise that inspire us to rethink the way we look at the world. In other words, Reading ”The World in Which We Live” is about the idea of encouraging unpredictable streams of thought that provoke far-fetched impossibilities, also known as knowledge.

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Camille Henrot, Grosse Fatigue, 2013.

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Reading “The World in Which We Live”, Installationsvy/Installation view.

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Reading “The World in Which We Live”, Installationsvy/Installation view.

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Reading “The World in Which We Live”, Installationsvy/Installation view.

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Reading “The World in Which We Live”, Installationsvy/Installation view.

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Dan Graham, Architecture/Astrology, Domus, 2011-12.

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A-L. Löfberg, Herbarium, 1968-71.

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A-L. Löfberg, Herbarium, 1968-71.

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A-L. Löfberg, Herbarium, 1968-71.

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A-L. Löfberg, Herbarium, 1968-71.

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A-L. Löfberg, Herbarium, 1968-71.

Melanie Smith

Monday 17 June 2013
7pm

Melanie Smith´s work is informed by the legacy of modernist painting, but overlaps into photography, video, and installation. Since 1989 she has lived and worked in Mexico City, an experience that has enormously influenced her works ever since. Past projects have focused on the metropolis of Mexico City, registering its multitudes, violence, banality, and clandestine nature, and in turn the inherent decomposition of the city. Her more recent work has extended the notion of site and non-site.

Her film Xilitla (in collaboration with Rafael Ortega) is currently on display at Wanås Konst, and this talk is organised in collaboration with Wanås.

On Books and Things: Greece Gropers Foundation Speaks

Wednesday 12 June 2013
7pm

Greece Gropers Foundation is a fictional institution and play authored by artists Jeuno JE Kim and Lasse Krog Møller. Greece Gropers, the fictive “founder” of the institution is an anagram of author Georges Perec, whose literary methods and games have structured the artists’ conceptual and working processes. Perec’s sociological approach in scrutinizing conventions, and highlighting the infraordinary in the everyday are some of the sensibilities adopted and adapted by the artists.

Jeuno JE Kim introduces the makers and the making of Greece Gropers Foundation. This is followed by a guided tour of the collections on display at Signal as part of the exhibition E as in Invisible, E as in Invincible, E as in Disappear: Dust Museum, The Museum of Bureaucratic Apparatus, Greece Gropers Publishing House, and The Silence Institute.

E as in Invisible, E as in Invincible, E as in Disappear

Marcel Dzama, Jeuno JE Kim & Lasse Krog Møller, Olivia Plender

3 May–16 June 2013
Opening Friday 3 May 7-9pm

Break down, condense, transform, attack.

When Rammellzee armours and empowers the letters, he does it in order to free them from the constraints of the alphabet. As a graffiti writer, rapper, and sculptor, he explored the ability to liberate the transcendental powers of the alphabet corrupted by Western culture. Cosmic electromagnetic equations and a detailed warfare plan is analysed and mapped out in his theoretical manifesto “Ionic Treatise” (1979). Deconstructively intricate? Yes. Crystal clear? Not quite. But full of a mind-bending logic that launches an accurate criticism towards the hegemony of encircled knowledge and the tendency to deploy language as a dominating effort and an organisational tool against those less powerful. Rammellzee’s letters refuse to conform to the narrow limits of language, they are on their quest to break loose from the handcuffs of words.

A liberation from the alphabet.
A game of chess played out in three different dimensions.
A fictitious foundation dedicated to collecting and studying the ordinary and the everyday.
An educational tool emphasising on the social construction of cultural and social institutions.

These are all spirited, cerebral acts of wit and rebellion that resist and evade the limitations of the systems and classifications through which we are taught to read the world. The game of chess, is like a sword fight. You must think first, before you move. An artist leaving art to pursue a favourite pastime, chess. An e silently disappearing from an entire novel. Withdrawal did not render their presence less evident. Now you see me, now you don’t is a powerful move to perform in the silence of words.

To those who say the winner takes it all, we say the game is not over yet.

 

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Jeuno JE Kim & Lasse Krog Møller, Greece Gropers Foundation, 2012. Dust Museum, Collection 1-3,
Dust from Desks and Tables. Foto/Photo: Terje Östling

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Jeuno JE Kim & Lasse Krog Møller, Greece Gropers Foundation, 2012. Dust Museum, Collection 1-3,
Dust from Desks and Tables. Foto/Photo: Terje Östling

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Jeuno JE Kim & Lasse Krog Møller, Greece Gropers Foundation, 2012.
Dust Museum, Collection 1-9, Dust on (every)thing. Foto/Photo: Terje Östling

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Jeuno JE Kim & Lasse Krog Møller, Greece Gropers Foundation, 2012.
Institutions of Greece Gropers Foundation. Foto/Photo: Terje Östling

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Jeuno JE Kim & Lasse Krog Møller, Greece Gropers Foundation, 2012
Greece Gropers Publishing House, Titles, Current and Future Books
Foto/Photo: Terje Östling

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Jeuno JE Kim & Lasse Krog Møller, Greece Gropers Foundation, 2012.
Installation view. Foto/Photo: Terje Östling

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Jeuno JE Kim & Lasse Krog Møller, Greece Gropers Foundation, 2012. Greece Gropers Silence Institute, Collection 1, Disappearance, Eye chart. Foto/Photo: Terje Östling

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Jeuno JE Kim & Lasse Krog Møller, Greece Gropers Foundation, 2012.
Greece Gropers Silence Institute, Collection 1-2, of Nothing. Foto/Photo: Terje Östling

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Jeuno JE Kim & Lasse Krog Møller, Greece Gropers Foundation, 2012.
Museum of Bureaucratic Apparatus, Collection 1-8, Office Supplies. Foto/Photo: Terje Östling

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Marcel Dzama, A Game of Chess, 2011. Video projection, 14:02 min, black & white, sound. Foto/Photo: Terje Östling

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Marcel Dzama, A Game of Chess, 2011. Video projection, 14:02 min, black & white, sound. Foto/Photo: Terje Östling

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Olivia Plender, Social Construction, 2012. Wooden blocks and printed posters. Foto/Photo: Terje Östling

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Installations vy från utställningen/Installation view of the exhibition. Foto/Photo: Terje Östling

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Installations vy från utställningen/Installation view of the exhibition. Foto/Photo: Terje Östling

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Utdrag från Rammellzees Ionic Treatise (1979)/Excerpts from Rammellzee's Ionic Treatise (1979). Foto/Photo: Terje Östling

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Utdrag från Rammellzees Ionic Treatise (1979)/Excerpts from Rammellzee's Ionic Treatise (1979). Foto/Photo: Terje Östling

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Installations vy från utställningen/Installation view of the exhibition. Foto/Photo: Terje Östling

 


For heaven’s sake, Monsieur, don’t move your hands or you’ll lose the pose!…

Can the artist speak? – a pedagogical performance
Ana-Maria Hadji-Culea
Tuesday 14 May 2013
9pm

The evening is dedicated to difficulties of speech.

An artist at work with paintbrush and a palette on a portrait of the patron – a bourgeois, middle-aged gentleman in a wing chair. It might have been finished since long. As it sits on the easel, adorned with a floral frame, it was surely destined for a drawing room. A fly makes a landing on the gentleman’s nose.

The artist exclaims:

- For heaven’s sake, monsieur, don’t move your hands or you’ll lose the pose!…

Without any further ado, the patron’s mouth zips up. Things then get more complicated, as the artist becomes indebted to a range of professionals, keen on representing, with speech that is shaped up by distribution fever.

I couldn’t help but wonder, can the artist speak?

With aid from Ellinor Aurora Aasgaard, Örn Alexander Ámundason, Kah Bee Chow, Jeuno JE Kim, Henning Lundkvist, Liv Strand and Megan Francis Sullivan to answer the question.

 

Guest Publisher: * [asterisk]

3 May–16 June 2013

* [asterisk] is run by Mathias Kokholm and Lasse Krog Møller and has over the last 10 years published a large number of art based, and art related, books as well as a ‘single-page’ magazine with the same name.

The books * [asterisk] are often published as a part of, or as an extension of an artistic practice. The idea of * has been to distribute and publish art in a different format, and through other ways, than the usual channels of distributing art. The published books can be characterized by having a large width, within a narrow field.

The magazine * [asterisk] is published as a loose-leaf, and each issue is provided with holes in the margin so that it can be assembled and collected.

Over the years * [asterisk] has also been an organiser of artists´ book fairs, such as Publ.Up and Verbale Pupiller.

www.forlagetasterisk.blogspot.com

www.forlagetasterisk.dk

 

The Last Angel of History

by John Akomfrah
Duration: 45 minutes
Wednesday 22 May 2013
7pm

This cinematic essay posits science fiction (with tropes such as alien abduction, estrangement, and genetic engineering) as a metaphor for the Pan-African experience of forced displacement, cultural alienation, and otherness. Akomfrah’s analysis is rooted in an exploration of the cultural works of Pan-African artists, such as funkmaster George Clinton and his Mothership Connection, Sun Ra’s use of extra-terrestrial iconography, and the very explicit connection drawn between these issues in the writings of black science fiction authors Samuel R. Delaney and Octavia Butler. Included are interviews with black cultural figures, from musicians DJ Spooky, Goldie, and Derek May, who discuss the importance of George Clinton to their own music, to George Clinton himself.

Tobias Kirstein & Pär Thörn

Sunday 14 April 2013
5−6pm

Tobias Kirstein and Pär Thörn give a concert on the border between drone, noise, sound-poetry, field recordings and scream.

TR Kirstein’s artistic practice stretches from free-form live actions to harsh-noise constellations using drums, microphones and electronics but also conceptual installations and performance. Kirstein is part of Lights People, J. Teller & The Empty Stairs and he has collaborated with amongst others Johannes Lund, Goodiepal, Leif Elggren and Jakob Kirkegaard.  Kirstein is also one of the driving forces behind Mayhem in Copenhagen a live-venue for experimental music.

Pär Thörn is an author, poet, musician and sometimes artist based in Berlin. His very multifaceted practice includes ready-mades, radios, re-mixes, sound-poetry, the use of systems, sine-waves, prepared  speakers and associative story telling.  Thörn has published numerous books his latest dräl was released on Storno Förlag and this Autumn he will release a comic on Apart Förlag.

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Tobias Kirstein & Pär Thörn. Signal, 2013.

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Tobias Kirstein & Pär Thörn. Signal, 2013.

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IN THE ACT: A Sprawling Space for Performance

Edited by Imri Sandström, Hanna Wilde and Corrine Fitzpatrick

Text: Andrea Merkx, Beata Berggren, Corrine Fitzpatrick, Hanna Wilde, Imri Sandström, Jane Jin Kaisen, Janna Holmstedt, Jen Rodewald, Kajsa Sandström, Litia Perta, Mara Lee, Marie Kølbæk Iversen, and Sara Young

Publisher: Högkvarteret
Year of publication: 2012
Language: English
Price: 150 SEK (Not including shipping.)

notes for soloists

Cia Rinne

Publisher: OEI Editör
Year of publication: 2009
Language: English, French, German, Spanish, Italian etc. (cross-lingual)
Price: 140 SEK (Not including shipping.)

Zaroum

Cia Rinne

Year of publication: 2001
Language: English, French, German  (cross-lingual)
Price: 140 SEK (Not including shipping.)

Present Memory

Alejandro Cesarco

Essay by Alejandro Cesarco, published in conjunction with the exhibition Ever Ephemeral: Remembering and Forgetting in the Archive at Signal-Center for Contemporary Art, organized by Julie Ault.

Language: English
Price: 20 SEK (Not including shipping.)

Show and Tell: A Chronicle of Group Material

Edited by Julie Ault

Archive material and texts concerning the projects of artist collective Group Material between the years 1979-1996.

Publisher: Four Corners Books
Year of publication: 2010
Language: English
Price: 250 SEK (Not including shipping.)

Time Frames: A Conversation

Julie Ault and Andrea Rosen

A conversation between Julie Ault and Andrea Rosen, published in conjunction with the exhibition Ever Ephemeral: Remembering and Forgetting in the Archive at Signal-Center for Contemporary Art, organized by Julie Ault.

Year of publication: 2011
Language: English
Price: 20 SEK (Not including shipping.)

Synrand

Jakob Simonson and Patrik Aarnivaara

Exhibition catalogue. Jakob Simonson and Patrik Aarnivaara at Landskrona konsthall

Text: Göran Nilsson, Lars-Henrik Ståhl and Sophie Tottie
Year of publication: 2009
Language: Swedish/English
Price: 100 SEK (Not including shipping.)

Aperture

Jakob Simonson

Exhibition catalogue. Jakob Simonson at Galleri Arnstedt, Östra Karup.

Text: Gertrud Sandqvist
Year of publication: 2012
Language: Swedish/English
Price: 100 SEK (Not including shipping.)

FORM/FORCE

Karl Larsson

Publisher: OEI Editör
Year of publication: 2007
Language: Swedish
Price: 120 SEK (Not including shipping.)

 

Nightsong

Karl Larsson

Publisher: OEI Editör
Year of publication: 2009
Language: Swedish
Price: 150 SEK (Not including shipping.)

Poetical Assumption

Karl Larsson

Publisher: Torpedo Press & Jan Van Eyck Academie
Year of publication: 2012
Language: English
Price: 100 SEK (Not including shipping.)

Multistability

Kerstin Cmelka

Documentation from restaged performances by VALIE EXPORT.

Text: Shannon Bool
Publisher: Revolver
Year of publication: 2006
Language: English/German
Price: 150 SEK (Not including shipping.)

AIDS Timeline

Doug Ashford, Julie Ault, Group Material

Text: Doug Ashford, Julie Ault, Group Material
Publisher: Hatje Cantz Verlag
Year of publication: 2011
Language: English
Price: 80 SEK (Not including shipping.)

Marie Andersson

Photographs by Marie Andersson.

Text: Niclas Östlind, Anna Johansson and Per Engström
Publisher: Sailor Press
Year of publication: 2010
Language: Swedish/English/French
Price: 500 SEK (Not including shipping.)

 

Red Flags

Joe Scanlan

Four essays by artist Joe Scanlan based on rewrites of texts by Thorstein Veblen, Joseph Schumpeter, Milton Friedman and Edward Said.

Publisher: Paraguay press
Year of publication: 2009
Language: 2009
Price: 170 SEK (Not including shipping.)

Katinka Bock

Edited by Thomas Boutoux

Three essays about artist Katinka Bock.

Text: Sabeth Buchmann, Natascha Sadr Haghighian and Kim West
Publisher: Paraguay Press
Year of publication: 2010
Language: English/German/French
Price: 200 SEK (Not including shipping.)

works walks

Magnus Thierfelder

Text: Marianna Garin and Mathieu Copeland
Publisher: Sailor Press
Year of publication: 2010
Language: English
Price: 200 SEK (Not including shipping.)

Steal This Book

Dora García

Documentation of eleven performative projects by the artist Dora García.

Publisher: Paraguay Press
Year of publication: 2009
Language: English
Price: 100 SEK (Not including shipping.)

The Interview

Guillaume Leblon and Thomas Boutoux

A play in two part, written in collaboration between the artist Guillaume Leblon and the critic Thomas Boutoux.

Publisher: Paraguay Press
Year of publication: 2009
Language: English/French
Price: 100 SEK (Not including shipping.)

Mäuse

Kerstin Cmelka

A picture book with photographs from the years 1983-2011.

Publisher: Merve Verlag Berlin
Year of publication: 2012
Price: 100 SEK (Not including shipping.)

“Dialogues” – A Film by Owen Land

Edited by Philippe Pirotte and Julia Strebelow

Manuscript and a critical essay by Chris Sharp.

Publisher: Paraguay Press
Year of publication: 2010
Language: English
Price: 160 SEK (Not including shipping.)

3A Gallery Presents Poetry Slam vol. 1 at Cafe Dan Graham

Documentation from a poetry event.

Year of publication: 2011
Language: English
Price: 50 SEK (Not including shipping.)

Consensus (The Room)

Karl Larsson

Published in conjunction with the exhibitions R, A, I, N (Consensus) at Signal-Center for contemporary art and P∞L (Consensus) at castillo/corrales, Paris.

Publisher: Paraguay Press/Signal
Year of publication: 2012
Language: English
Price: 100 SEK (Not including shipping.)

Tape Works

V/A. Edited by In Edit Mode Press

For detailed information see http://www.ineditmode.com/

Publisher: In Edit Mode Press
Year of publication: 2009
Language: English
Price: 130 SEK (Not including shipping.)

VISIT TINGBJERG – discussing social intervention

Matthias Hvass Borello
Thursday 21 February 2013
7pm

During the summer of 2012 an art festival took place in Tingbjerg, a residential neighbourhood in north western Copenhagen. By way of a variety of art projects the festival tried to shake the existing image and common perception of the neighbourhood as a problematic ghetto. 21 projects were presented during the six weeks of the festival, and this evening curator Matthias Hvass Borelo will share his thoughts on the project: what succeeded and what did not turn out the way they had dreamt of? Welcome to an evening of intentions and results, curatorial ideas and artistic devices.

Matthias Hvass Borello is the editor of kunsten.nu and has previously worked for Dagbladet Information. Read more about Visit Tingbjerg here: www.visittingbjerg.dk.

The talk will be held in English and is organised in collaboration with Skånes konstförening. Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

 

Joel Odebrant and Imri Sandström

Wednesday 20 February 2013
7pm

Ubu-Websday is a series of events where invited guests are asked to present a personal selection of material from one of the largest web-based archives, www.ubu.com. Our guests this evening are Joel Odebrant, art historian and cultural odd-job man, and Imri Sandström, interdisciplinary artist and co-founder of the performance project IN THE ACT. They will each introduce a programme of approx. 30-45 min offering an opportunity to discover the treasures of UbuWeb, and together with others.

Image: Yoko Ono, Four, 1967. Video still.

Above the Rim of the Glass

Jesse Jones, Lucy Skaer, Claudia Wieser

8 March–21 April 2013
Opening Friday 8 March 7-9pm

The concept of value indicates the significance we ascribe to different phenomena and has throughout history been associated with notions such as belief and faith, but also to models for appreciation and speculation in constant movement between the present and the future. Above the rim of the glass catches a moment in time where the surface tension is on the verge of spilling over, balancing on the edge of excess.

Mahogany by Jesse Jones tells the story of a fictional city set up in the void of the desert. The dialogue between the city´s architect and the whisper choir made up of its inhabitants lets us know that the purpose of this city is to satisfy the ultimate desires of its people by offering a space of infinite freedom and excessive indulgence of pleasures and endless consumption. But is it really a city about to be built, or has it already fallen? Mahogany is the opening chapter of The Trilogy of Dust, a series of films located in various dry and barren landscapes that form an eerie backdrop to proposed dystopic future crisis we might face, opening up for critiques of our present reality. As in previous works by Jones, Mahogany investigates the consequences of our actions and how they may not only overstretch our resources’ carrying capacities, but also our sensory capacity to perceive reality itself.

The work of Lucy Skaer occupies the gap between object and representation, challenging our understanding of material and symbolic values and their changeability. The sculptures that are a part of Liquidity in the Mind of the Fool contain fragments of previous works connected through a chain of incarnations and their relation to the medieval allegory of the ship of fools: Ship ballast in the shape of copies of Brancusi´s Newborn sculptures melted down to fit the ornament of a floor, and then the form cast again in miniature, transformed together with glass, tin, bronze, shells and fossils into new sculptures. A 16th century woodcut of the ship of fools, that has been changed into a secure bank note, is visible through a piece of glass, depicting a vessel populated by human inhabitants who are deranged, frivolous, or oblivious passengers aboard a ship without a pilot, seemingly ignorant of their own direction. Badly minted coins with their validating stamp sliding from the face of the metal disc, looking as if in between having an intrinsic value, like in the beginning of the history of money, and a symbolic one. Looking for forms that have been emptied out of meaning, but also for materials that gradually have become more abstract and empty of form, Skaer opens up for an inherent ambiguity constantly in motion.

When looking for ways to predict the future, the ancient tradition of melting tin on New Year’s Eve reminds us that it is wise not only to examine and interpret the shape of the solid tin cast, but also to take into account the effect of its shadow. Claudia Wieser´s geometrically patterned wallpaper Proménade Géométrique, made out of black and white photocopies, draws its inspiration from hand made stage sets from the expressionistic movies of the 1920s that experimented with light and shadow effects in order to approach the world through a different point of view. Together with a series of abstract line drawings and a sculpture of mirror glass, the installation distorts our experience of the actual space and the image of our selves in it. A dense atmosphere is created that at the same time evokes associations to sacral environments as well as to apocalyptic predicaments of what might come next.

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Claudia Wieser, Proménade Géométrique, 2004/2013. Foto/Photo: Terje Östling

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Claudia Wieser, Proménade Géométrique, 2004/2013. Detalj/Detail. Foto/Photo: Terje Östling

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Claudia Wieser, Installations vy/Installation view. Foto/Photo: Terje Östling

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Claudia Wieser, Untitled, 2013. Foto/Photo: Terje Östling

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Claudia Wieser, Untitled, 2013. Foto/Photo: Terje Östling

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Claudia Wieser, Untitled, 2013. Foto/Photo: Terje Östling

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Installations vy/Installation view. Foto/Photo: Terje Östling

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Jesse Jones, Mahogany, 2009. Foto/Photo: Terje Östling

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Jesse Jones, Mahogany, 2009. Foto/Photo: Terje Östling

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Jesse Jones, Mahogany, 2009. Foto/Photo: Terje Östling

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Jesse Jones, Mahogany, 2009. Foto/Photo: Terje Östling

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Installations vy/Installation view. Foto/Photo: Terje Östling

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Installations vy/Installation view. Foto/Photo: Terje Östling

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Installations vy/Installation view. Foto/Photo: Terje Östling

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Lucy Skaer, Liquidity in the Mind of the Fool, 2012. Foto/Photo: Terje Östling

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Lucy Skaer, Liquidity in the Mind of the Fool, 2012. Detalj/Detail. Foto/Photo: Terje Östling

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Lucy Skaer, Liquidity in the Mind of the Fool, 2012. Foto/Photo: Terje Östling

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Lucy Skaer, Liquidity in the Mind of the Fool, 2012. Detalj/Detail. Foto/Photo: Terje Östling

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Lucy Skaer, Liquidity in the Mind of the Fool, 2012. Detalj/Detail. Foto/Photo: Terje Östling

 

 

 

 

 

 

 

 

New opening hours 2013

New opening hours: Thursday-Friday noon-6pm, Saturday-Sunday noon-4pm. Welcome!

sounds for soloists

Cia Rinne
Curated by Solvej Helweg Ovesen
in collaboration with Signal

1−24 February 2013
Opening Friday 1 February 6-10pm,
with performances at 8-9pm
by Cia Rinne, UKON and Frisk Frugt

In sounds for soloists poet and artist Cia Rinne uses her multilingual voice as an instrument to perform complex, yet minimal compositions in sound and text. By applying intricate cross-lingual wordplays and vocal explorations in language-sound, she reduces wide terrains of philosophical and linguistic complexities to their very essence, often in interplay with their sonic or formal qualities. Her playful yet strictly conceptual pieces are evocative of Dada poetry and Fluxus and in line with the traditions of concrete and sound poetry. sounds for soloists operates freely on the borders of writing, performance and the visual arts where language simultaneously functions as text, sound and image. In the exhibition, the two sound works “sans y/eux” and “sounds for soloists” (in collaboration with Sebastian Eskildsen) are presented in close relation to a selection from the two text-based works “notes for soloists” and “serious cerises”.

The opening will be accompanied by a set of performances including readings by Cia Rinne, and poet and psychoanalyst UKON, and a concert by musician and composer Frisk Frugt who will perform on his home made vacuum-cleaner-flute-organ.

The project sounds for soloists has previously been presented at Grimmuseum in Berlin and The Living Art Museum in Reykjavik in different versions and is realized with support from The Nordic Culture Fund and the Foundation for Swedish Culture in Finland.

 

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Cia Rinne, Installationsvy/Installation view. Foto/Photo: Terje Östling

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Cia Rinne, Installationsvy/Installation view. Foto/Photo: Terje Östling

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Cia Rinne, sans y/eux, 2012. Foto/Photo: Terje Östling

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Cia Rinne, notes for soloists, 2012. Foto/Photo: Terje Östling

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Cia Rinne, serious cerises, 2012. Foto/Photo: Terje Östling

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Cia Rinne/Sebastian Eskildsen, sounds for soloists, 2011-12. Foto/Photo: Terje Östling

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Cia Rinne, notes for soloists, 2012. Foto/Photo: Terje Östling

 

IN THE ACT – A Sprawling Space for Performance

Book release and performances by Roxy Farhat, Johanna Friedman, Imri Sandström and Hanna Wilde
Wednesday 5 December 2012
7-10pm

IN THE ACT is a sprawling space for emerging performance art that took place over three evenings at Högkvarteret (Stockholm), one evening at Malmö Konsthall (Malmö), one evening at Silvershed (New York City) in 2011, and one convergence in Falträsk (Västerbottens län) in 2012. The publication – IN THE ACT: A Sprawling Space for Performance – extends the dialogues and explorations initiated by the project into printed matter. The publication is edited by Corrine Fitzpatrick, Imri Sandström and Hanna Wilde, is designed by Conny Karlsson Lundgren, and contains works and writings by Andrea Merkx, Beata Berggren, Corrine Fitzpatrick, Hanna Wilde, Imri Sandström, Jane Jin Kaisen, Janna Holmstedt, Jen Rodewald, Kajsa Sandström, Litia Perta, Mara Lee, Marie Kølbæk Iversen, and Sara Young.

IN THE ACT is a curatorial collaboration between artist Imri Sandström and curator Hanna Wilde, presented by the Swedish collective Högkvarteret.

In Edit Mode Release

LOCAL COLOUR: Ghosts, variations
Monday 17 December 2012
7pm

In collaboration with Canadian poet Derek Beaulieu, Malmö-based publishing imprint In Edit Mode Press now presents Local Colour : Ghosts, variations. The collection takes as its point of departure Paul Auster’s novella Ghosts, and Beaulieu’s reworking of Auster’s text, Local Colour. It invites a number of writers, poets, musicians and artists to contribute with further reworkings, intermedial translations and editing projects exploring various intersections between Auster’s text and Beaulieu’s graphic interpretation. The resulting volume consists of four bound volumes, a series of pamphlets and prints, an audio-CD and a piece of computer software.

To celebrate the release of the publication, we welcome you to an evening of performances and readings at Signal. The program for the evening features a reading by Derek Beaulieu, performances by Helen White, and a sound piece by Cecilie Bjørgås Jordheim performed by Stine Janvin Motland and Inga Margrete Aas. Additionally, a new sound piece by Pär Thörn, recorded specifically for the event, will be presented.

Contributing poets, artists and musicians in the publication include Steve Giasson, Eric Zboya, Helen White, Elisabeth Tonnard, Gary Barlow, Pär Thörn, Peder Alexis Olsson, Cecilie Jordheim, Andreas Kurtsson, Cia Rinne, Martin Glaz Serup, and Ola Lindefelt.

IN EDIT MODE PRESS is a Malmö based publishing initiative focusing on experimental, contemporary text, – sound, – and graphic work. We primarily publish themed collections exploring specific issues and aesthetic strategies, taking a diverse range of approaches and perspectives into account. From the editorial offices / book shop at Malmö’s Dalaplan, the publications are made by hand and in low print runs, often by using unconventional formats and techniques. You can find more information on: www.ineditmode.com.

 

 

 

 

 

 

 

 

 

Guest Publisher: In Edit Mode Press

1 February–7 March 2013

In Edit Mode Press is a small imprint in Malmö, run by artists Carl Lindh and Ola Ståhl. They primarily publish themed collections and small box-set anthologies exploring various intersections between sound and text, and more specifically the ways in which editing and remixing processes destabilize and displace such interfaces rendering possible various forms of mutation and hybridization. Published books include amongst others Counting Each Step of the Sun and Chinese Whispers.

 

Guest Publisher: Paraguay Press

16 November 2012–20 January 2013

Paraguay Press is a co-operatively organised independent art publisher based in Paris, run by a group of artists, writers and curators (Guillaume Leblon, Thomas Boutoux, François Piron, Benjamin Thorel) who also manage the exhibition programme at catillo/corrales and its appended bookstore Section 7 books. Paraguay Press act as a framework for the books in which their own work appears just as much as for a growing number of artists, writers, and institutions whose work they admire. Each project departs from an understanding of the space of the book as an extension of artistic, critical and curatorial thinking into a graphic, mobile, democratic and durable form. Find their books in our bookshop or online!

Guest Publisher? Interesting, small scale publishers with a focus on art are invited to display their books in the bookshop at Signal and in conjunction to this bookreleases and talks are presented.

 

 

Guest Publisher: Sailor Press

28 September–4 November 2012

We are happy to present a new series of events in connection to our bookshop: guest publishers! Highly interesting, small scale publishers with a focus on art are invited to display their books in our shop, and in conjunction to this we present bookreleases and talks.

Starting off with Malmö based Sailor Press, run by graphic designer Matilda Plöjel with the aim to offer an alternative to publishing restricted by the constraints of institutions or larger publishers. In close dialogue and collaboration with the artists Sailor Press develops publications that explore the artist’s work as well as the book as a medium. Sailor Press also distributes critical writings on design, craft and art. Pick up your copy at Signal or visit our online book shop!

Don´t forget that Sailor Press Evening takes place on October 11th!

 

Signal+Grand=1 Year!

Saturday 27 October 2012
7pm–3am

Time flies when you are having fun! On Saturday the 27th of October we are celebrating that it´s one year ago since we had our Grand Opening of our new space together with Grand öl&Mat, and you are all welcome to join us! Signal will be open during the day as ususal (1-5pm) and then again from 7-9pm – showing Realismus ist kein Stil. Join us for a fun evening!

Art & Life

- A talk show by Kerstin Cmelka

Thursday 22 November 2012
Time: 6pm, doors open at 5.30pm
Location: Lund Konsthall

Join us and be part of the live studio audience for the extraordinary, one evening only talk show Art & Life directed by Berlin based artist Kerstin Cmelka. Tackling the boundless premises of art and life, ten well known art profiles from Lund and Malmö are invited to share their personal experiences elegantly moderated by Cmelka’s alter ego, our hostess Camilla Backman.

Our guests this evening belong to different generations, work in various ways and have experienced the art world in all its forms. They will share their thoughts, as well as their own stories, on how the equation between art and life adds up, and how the professional and the private is mixed and matched in life. Has our view upon art, life and society changed since the 60′s and how do norms, ideals and the spirit of the times influence the artistic process? This evening will grant us a rare insight into personal commitments and doubts, standpoints and destinies that have played an integral part in forming the art that we encounter today.

Our prominent guests are: Jenny Grönvall, artist; Tiril Hasselknippe, artist and director of CEO Gallery; Elisabet Haglund, art historian and former director of Skissernas museum; Gittan Jönsson, artist; Clay Ketter, artist; Mathias Kristersson, artist; Tamara Malmeström de Laval, artist; Elin Lundgren, artistic director of Lilith Performance Studio; Vassil Simittchiev, artist and former professor at The Royal Institute of Art; and Anne Wipp de Laval, art connoisseur.

Hostess: Camilla Backman, artist

House band: WON, our own funk and psychedelic Malmö wonder will be lightening up the evening with dance and love.

NB! Doors open at 5.30pm and close at 6pm. No admission after this. The recording will take approx. two hours. Free admission and first come first served.

Art & Life is produced by Signal – Center for Contemporary Art, in collaboration with Lund Konsthall, with support from Framtidens Lund and Konstnärsnämnden.

© Signal Productions

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Art & Life – en talkshow av Kerstin Cmelka/Art & Life - A talk show by Kerstin Cmelka, 2012. Foto/Photo: Signal

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Art & Life – en talkshow av Kerstin Cmelka/Art & Life - A talk show by Kerstin Cmelka, 2012. Foto/Photo: Signal

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Art & Life – en talkshow av Kerstin Cmelka/Art & Life - A talk show by Kerstin Cmelka, 2012. Foto/Photo: Signal

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Art & Life – en talkshow av Kerstin Cmelka/Art & Life - A talk show by Kerstin Cmelka, 2012. Foto/Photo: Signal

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Art & Life – en talkshow av Kerstin Cmelka/Art & Life - A talk show by Kerstin Cmelka, 2012. Foto/Photo: Signal

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Art & Life – en talkshow av Kerstin Cmelka/Art & Life - A talk show by Kerstin Cmelka, 2012. Foto/Photo: Kerstin Cmelka

 

 

 

 

Nebulosan (The Nebula)

by Eric M Nilsson & Tobias Janson, 1999, 58 min.
Tuesday 30 October 2012
7pm

The Nebula – a documentary. That is, a compilation, a presentation. A film about sound, a film about words, a film about interpretation and misunderstanding.” A number of people are thinking about questions such as: Who is Sören? What is a nebula? What are the weaknesses of documentary film? How do we deal with suspicion? How do interstices and shifts work?

The screening of Nebulosan (The Nebula) is the last of four events organised in connection with the exhibition Realismus ist kein Stil (28.9–4.11). Artist Jakob Simonson introduces the film.

The film is not presented with English subtitles.

The Anabasis of May and Fusako Shigenobu, Masao Adachi, and 27 Years without images

by Eric Baudelaire, 2011, 66 min.
Tuesday 23 October 2012
7pm

Two life stories intersect when the legendary underground film director Masao Adachi join the Japanese Red Army (JRA) in Libanon in the early 1970s and becomes a father figure of May Shigenobu – daughter of the JRA founder and leader Fusako Shigenobu. Eric Baudelaire weaves together the stories of Shigenobu and Adachi with contemporary landscape imagery from Tokyo and Beirut – a method called Fukeiron (a theory of landscape), used and developed by Adachi,  where the camera is turned towards everyday sceneries rather than people as a way of capturing the ubiquity of state power.

The Anabasis… is a film about political engagement and filmmaking, about exile and what it is like to grow up with ever changing identities and about memories and what the effect the lack of images can have in people’s lives.

Theatre Today

A Discussion about contemporary
theatre with Brecht´s theory and practice
as a point of departure
Tuesday 9 October 2012
7–9pm

Bertolt Brecht approached theatre as a forum for political ideas and explored its relation to reality. His theory also included every practical aspect of theatre making – such as acting, directing, scenography, music and drama. With Brecht´s theory and practice as a point of departure, a number of directors, actors, playwrighters, researchers and composers talk about contemporary theatre and what direction they think theatre is taking today – practically, aesthetically and politically. Jörgen Dahlqvist from Teatr Weimar moderates the discussion between Fredrik Haller (director), Annika Nyman (playwrighter), Kent Olofsson (composer), Public Plot (theatre collective), Linda Ritzén (actor and director) and Kent Sjöström (researcher).

This evening is organised in collaboration with Teatr Weimar and part of four events that accompany the exhibition Realismus ist kein Stil (28.9-4.11).

 

Liz Magic Laser

Thursday 4 October 2012
7pm

Liz Magic Laser, a New York-based performance and video artist, explores the relationship between theatre and politics and how emotions and messages are manipulated and orchestrated through the dramatization of speech, settings and gestures. In previous works Laser has elaborated on the methods of Bertolt Brecht’s theatre, the Living Newspaper – a type of agitprop street theatre, and the television news. The talk will be held in English.

The event is organised in collaboration with Malmö Konsthall and the exhibition Liz Magic Laser In Camera 4-28 October, opening 3 October at 5-9pm.

lizLiz Magic Laser, In Camera, 2012. Courtesy of the artist, Malmö Konsthall in collaboration with SVT

 

 

Sailor Press Evening

Thursday 11 October 2012
7pm

Come listen to a talk between Matilda Plöjel/Sailor Press and Karen Grønneberg & Marte Meling Enoksen from the bookshop Motto in Copenhagen and join us for the book release of We Look and We See by Lotten Pålsson and Kristina Bengtsson. This very evening we are also proud to present a collection of books from eleven Swedish small scale publishers brought together earlier this year for the seminar on independent publishing: Publishing as (part-time) Practice.

sailorpressevening

 

Malmö Gallery Night 2012

Saturday 29 September 2012
6pm–midnight

On view is the exhibition Realismus ist kein Stil with works by Anja Kirschner & David Panos and Jakob Simonson. The small bar at Grand will be open and Ullis will play records in Our Living Room until midnight. Enjoy!

 

 

Permanent Daylight

Friday 7 September 2012
7–10pm

Join us for the Malmö launch of Permanent Daylight, a book & magazine hybrid by Jonas Liveröd where recent works and points of reference, interviews and anecdotes, notes and out-takes share space with each other. On the schedule: shady reading, musical escapades and elaborate drinks.

Permanent daylight is indispensable reading for those who take an interest in utopian cults, love crimes, doppelgänger effects, borderline architecture, pilgrimages, lists, misplaced art history, manic collectors, folk-art fakes, dioramas, magic used in warfare, visionary failures, emotional manipulation, fear of the dark and modernistic faux pas.

This beautiful evening Jonas Liveröd will be joined by director and unmatched internet archaeologist Olof Werngren who will present a program of his current favourites from the outskirts of YouTube, and Tiaz from record-label Lugnet teams up with our own Carl Lindh to offer a distorted soundtrack on grand piano and re-built machines that will accompany Olof’s excursions in YouTubiana.

 

 

 

 

Fred Lonberg-Holm + St:Andby

FRIM syd visits Signal
Monday 16 July 2012
7pm

Chicago based improviser, composer and anti-cellist Fred Lonberg-Holm together with the pan-nordic trio St. Andby (Sture Ericson, Anders Lindsjö, Adam Pultz Melby) gives a concert at Signal. The event is organised by FRIM syd.

 

R,A,I,N (Consensus)

Karl Larsson

16 November 2012–20 January 2013
Opening Friday 16 November 7-9pm

A note on R, A, I, N (Consensus) *

This is an exhibition dedicated to verticality.

Is human vision dependent on weight? In other words, upon the fact that one either falls or doesn’t?

“I always fall into the apparent.”

This is an exhibition dedicated to rain. Liquid water in the form of droplets that have been condensed from atmospheric water vapor and become heavy enough to fall under gravity.

Does it shatter groups of people? Does it bring individuals together?

“I want to wash you with my hair.”

This is an exhibition dedicated to the reader.

Can you avoid theatricalization? Can you break free from the everyday fabric of fiction?

“This object owns me.”

* The exhibition R, A, I, N (Consensus) at Signal, Malmö, is one part of a collaborative project that comprises the book Consensus (The Room),** published by Paraguay Press, and the exhibition P∞L (Consensus) at castillo/corrales, Paris, that will open in January 2013; three acts, or a timing, that are not fully meant to overlap.

** Consensus (The Room) is a theater play in two acts, that may not be designed to be performed. Characters, props and places don’t follow each other but they look alike. They don’t communicate. They remain stubborn, or stupid – as if they were blind to their destinies, content with hearing voices. The scene gives room for writing; the stage gives way to the text. Words are to be handled and exchanged, the same way money circulates, glasses are filled up and emptied out, wars are remembered, and phones call on ghosts.

 

This project is supported by the Culture Administration of Region Skåne, Swedish Arts Council and the Culture Department of Malmö.

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Installationsvy/Installation view. Foto/Photo: Terje Östling.

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Installationsvy/Installation view. Foto/Photo: Terje Östling.

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Consensus (The Room), 2012. Foto/Photo: Terje Östling.

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Installationsvy/Installation view. Foto/Photo: Terje Östling.

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Object Ontology: Unwilling to Name/Unwilling to Represent, 2012.
Foto/Photo: Terje Östling.

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Installationsvy/Installation view. Foto/Photo: Terje Östling.

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Object Ontology: The Plot is a Model, Not a Story, 2012. Foto/Photo: Terje Östling.

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Umbrella Poster (Show the Problem, Not the Solution), 2012 & Object Ontology: Always interesting, What Can Be Said Without Explaining, 2012. Installationsvy/Installation view. Foto/Photo: Terje Östling.

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Object Ontology; Always interesting, What Can Be Said Without Explaining, 2012. Detalj/Detail. Foto/Photo: Terje Östling.

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Installationsvy/Installation view. Foto/Photo: Terje Östling.

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Object Ontology: To Draw Attention to, Not to Stage, 2012.
Foto/Photo: Terje Östling.

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Object Ontology: To Draw Attention to, Not to Stage, 2012.
Detalj/Detail. Foto/Photo: Terje Östling.

Realismus ist kein Stil

Anja Kirschner & David Panos,
Jakob Simonson

28 September–4 November 2012
Opening Friday 28 September 7-9pm

Realism is not a style, nor a manner. To navigate between the reality of things and the capacity to imagine solutions that surpass the obstacles in a given system, without fleeing into escapist endeavours, is quite an ambiguous challenge. A challenge that might seem too costly to undertake.

In their film The Empty Plan London-based artists Anja Kirchner and David Panos contrast scenes from three different productions of Bertolt Brecht’s 1931 play Die Mutter, with scenes from his exile during the 1940′s in Hollywood, the mecca of entertainment. Shifting between documentary, historical reconstruction and melodrama, the focus on the relationship between theory and practice in Brecht’s theatre intermingles with conflicting personal, artistic and political ambitions, raising questions about the nature of art and the unrealised dream of its supersession through revolutionary practice.

In dialogue with the film, the sculptural painting installations of Swedish artist Jakob Simonson explore the border where the image comes into existence, or is lost – where the image is barely image. The front side, as well as the back, are both parts that are clearly presented to the viewer whose sight is set on a mode that oscillates between perception and illusion. Simonson’s works operate both as physical experiences featuring the involvement of the body, and as images dubious to our reason. It’s a back and forth movement between intellectual distance and emotional absorption that challenges every second of our attention.

Following Brecht’s logic, the only way to discourage the audience from falling into an illusionary narrative world, was to sit back, have a cigarette, relax and reflect on what was being presented in an emotionally distanced, critically engaged and objective way. That is not a style – it is an attitude.

Screening times:

Thursday–Friday

2pm
3.20pm
4.40pm

Saturday

1pm
2.20pm
3.40pm

Sunday

Noon
1.20pm
2.40pm

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Jakob Simonson. Foto/Photo: Terje Östling

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Realismus ist kein Stil, Installationsvy/Installation view. Foto/Photo: Terje Östling

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Jakob Simonson. Foto/Photo: Terje Östling

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Jakob Simonson, Camera, 2012. Foto/Photo: Terje Östling

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Jakob Simonson, Camera, 2012. Foto/Photo: Terje Östling

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Jakob Simonson, Camera, 2012. Foto/Photo: Terje Östling

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Jakob Simonson, Untitled (the Forest), 2006. Foto/Photo: Terje Östling

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Jakob Simonson, Untitled (the Forest), 2006. Foto/Photo: Terje Östling

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Realismus ist kein Stil, Installationsvy/Installation view. Foto/Photo: Terje Östling

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Anja Kirschner & David Panos, The Empty Plan, 2010. Foto/Photo: Terje Östling

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Anja Kirschner & David Panos, The Empty Plan, 2010. Foto/Photo: Terje Östling

 

Umeda Tetsuya & Tenniscoats (Part 2)

Wednesday 13 june 2012
7pm

It’s time to say goodbye to Japanese duo Tenniscoats and artist Umeda Tetsuya, but before they leave town there will be time for a second performance. For those of you that came last Saturday – come again! It’s going to be a new setting in a different space with other works. For those of you that missed Saturday – don’t miss Wednesday!

And for those of you who want to know more: Umeda Tetsuya’s momentary installations and performances are marked by fluidity creating light, sound, or movement by waste articles and daily commodities, and incorporating the on-the-spot situation in his work. Powered by gravity, wind, centrifugal force or falling objects, Umeda’s works keep the situation unstable and unpredictable. Tenniscoats’ music is all about the here and now – next time everything will sound different. They are true improvisors inside their own musical world altering it along the way and adjusting it to the spacial and acoustic conditions that arise through Umeda’s interventions.

Umeda Tetsuya & Tenniscoats (Part 1)

Saturday 9 June 2012
9.30pm

Japanese duo Tenniscoats in collaboration with artist Umeda Tetsuya means an evening of improvisation and playfulness, maybe indoors, maybe outdoors… But for sure it will take place at Signal and Grand restaurant/bar.

Umeda Tetsuya’s momentary installations and performances are marked by fluidity creating light, sound, or movement by waste articles and daily commodities, and incorporating the on-the-spot situation in his work. Powered by gravity, wind, centrifugal force or falling objects, Umeda’s works keep the situation unstable and unpredictable. Tenniscoats’ music is all about the here and now – next time everything will sound different. They are true improvisors inside their own musical world altering it along the way and adjusting it to the spacial and acoustic conditions that arise through Umeda’s interventions.

The collaboration with Tenniscoats and Tetsuya Umeda is part of a series of events at Signal called When the dusk starts falling and is supported by The Swedish Arts Grants Committee.

Charlemagne Palestine

Thursday 31 May 2012
9.30pm

Performance/cermony with Charlemagne Palestine, one of music’s true iconoclasts – famed for his epic, extended duration works for organ, the distinctive piano playing  and his ritualistic ‘stuffed animals and cognac’ performance style.

 

Charif Benhelima

Tuesday 22 May 2012
7pm

Charif Benhelima investigates the notion of identity, memory/oblivion, document, and truth through images that explore perception, time and space, and a sense of invisibility. Besides having worked with analogical photography, he has been long experimenting with Polaroid 600. Worked out in long terms, Benhelima’s diverse aesthetic, formal and conceptual research compose nevertheless a coherent oeuvre.

Charif Benhelima (b. 1967, Brussels) lives and works in Antwerp. Benhelima holds a three month residency at Iaspis in Malmö (May-July 2012).

(I)ndependent People

Sunday 20 May 2012
At the Nordic House, Reykjavik, Iceland

Signal talks about the project A Parallel History: The Independent Art Arenas of Skåne 1968–2008 at the seminar that is arranged in connection to the visual arts program at the Reykjavik Arts Festival. Participants include: Sara Arrhenius, Signal, Jon Proppe, Nomeda & Gediminas Urbonas, Tinna Gretarsdottír, AMT, and is moderated by Markús þór Andrésson.

For more information visist www.independentpeople.is

Move Your Past

Katarina Elvén, Kentaro Hiroki, Sofie Josefsson, Emma Kay, Johan Thurfjell

16 September–30 October 2005
Opening Friday 16 September 7-9pm

Move Your Past challenges us to reformulate and redefine our history/histories but it also reflects on the fact that this is precisely what we are doing when we sort and reconstruct our personal memories. The works in this exhibition show the transfer of a past, both in a mental and physical sense.

Sofie Josefsson’s work raises questions about the physical and psychological aspects of surface and spatiality. Her wall drawing Rester (Remains) leaves traces of a possible past while the collapse of space leaves the viewer in a strange situation in which it is difficult to determine what is real and what is not. Is the explosion of her own kitchen the result of some sort of political subversion or of controlled chaos?

Katarina Elvén works with questions pertaining to interior, perception, depth and surface. With her video Travelling the Surface she builds up a constructed, dense and coherent picture of a typically modernist architecture in which the viewer is only allowed to penetrate as far as the surface of the façade. What is to be found on the inside, or at least what sort of narratives every camera-panning can be imagined to contain, is left to the viewer to determine.

In his work Johan Thurfjell examines the relationship between himself, the world around him and the role of the personal in the writing of history. In Tillbakablick (som om det varit en övning)/ Looking back (as if it had been a rehearsal) from 2003, his memory of a parting at an airport becomes a metaphor for a future separation.

Emma Kay takes her own memory as her point of departure. Using drawing and video she has re-told the great narratives like the Bible and the History of the World. By examining the limits of memory and letting her subjective version become universal Emma Kay challenges accepted history while playfully making visible the unchallengeable status of the classics and arguing for the possibility of daring to remember “wrong”. At Signal she is showing Shakespeare From Memory (1998), a work consisting of 26 parts.

Kentaro Hiroki is showing a series of pencil drawings entitled Backside of photographs, 2004—05. In these he has copied/drawn the backsides of photographs from the early 20th century. The photographs were taken by Western explorers in Asia as well as by King Rama V on a journey around the world at the beginning of the century. In his work Hiroki touches on issues such as how cultural identity is created, how it is expressed and how it is handed down.

Frieze Projects

Frieze Art Fair
Regent’s Park, London
14–17 October 2010

In 2009 Signal embarked on an extensive research project that resulted in the publication A Parallel History – The Independent Art Arenas of Skåne 1968–2008, a study on the variegated array of initiatives and exhibition spaces that were central in shaping the development of a vibrant art scene in the south of Sweden. At Frieze Art Fair, Signal will present this history of immediate forerunners in close dialogue with another work Sweden Today – A Thousand and One (Black) Nights by Jean Sellem, who ran Galerie S:t Petri – Archive of Experimental and Marginal Art in Lund, together with Marie Sjöberg, between the years 1971-1982. Sweden Today was initially an installation of one thousand and one black sheets of paper hung on the walls illustrating the contemporary cultural and economic situation in Sweden. The sheets were later gathered in the book Sweden Today published by Edition Sellem in 1981. Signal’s presentation as part of this year’s Frieze Projects links the two works both in time and space commenting on a situation that is still valid.

Frieze Projects is a programme realised annually at Frieze Art Fair and includes specially commissioned projects as well as the Cartier Award and collaborations with partner organisations which this year are Signal (Sweden) and Vector Association (Romania).

Sergio Augusto

25 September–24 October 2010

Signal presents a specially commissioned work by artist Sergio Augusto in which the windows of Signal will be used as light boxes to illuminate the neighbourhood.

When the pepper blossoms – a story about the swedish emigration to Brazil

Anna Wessman and Nilsmagnus Sköld
Wednesday 16 May 2012
7pm

They are standing there, a small family, about to leave. One child whines. They look right into the camera. They have decided to leave the country and the district where they can not manage financially despite the work and toil in the mine. It’s the same for everyone. There are several people here who will leave to go to a country far away, where it’s easy to find work, where they do not have to watch every penny and freeze, where the children have a future.

In When the pepper blossoms, Anna Wessman and Nilsmagnus Sköld tell a story about a largely forgotten part of Swedish history: the 1909 to 1911´s Swedish emigration to Brazil. During two months in the autumn 2010, they traveled with their children in the footsteps of the migrants.

In the film we meet descendants of the Swedish working class families that, with the promise of a good life on the other side of earth, left Kiruna and Luleå, and other locations, and emigrated via Hamburg to Ilha das Flores -Isle of Flowers – and further down south to Porto Alegre in Rio Grande do Sul. In letters that were sent home, the emigrants wrote about all the beauty they met, and that this new home probably had to be paradise compared to the cold and the hunger they had left. But then it turned. Some had died already during the crossing and were buried at sea. They succumbed not only to tropical fevers with stomach problems, but also floods, unusable land, hunger and poverty claimed more lives later on.

This came to be called the “caravan of death”, “la caravana de la muerte”. In addition to this, they got very little to no profit of the agricultural products they managed to produce, and gradually people moved across the border to Argentina. The green paradise had turned into a green hell. When the pepper blossoms is a film about history, memory and forgetfulness. A century ago, people fled the recession and aftermath of The Swedish General Strike. Some of them traveled to Brazil. When the pepper blossoms is a reminder of this forgotten stage of history. It also highlights the striking similarities between the migrants of the past and of today and their quest for freedom, land and bread.

When the pepper blossoms urges us to realize that everything is connected.

/ Isabell Dahlberg

 

When the pepper blossoms is a film by Anna Wessman and Nilsmagnus Sköld.

Year of production: 2011
Length: 57 min

Cast
Voice:
Fredrik Gunnarsson
Terje Östling
Viktoria Flodström

Filmmusic:
Sofia Härdig

Post Production Sound:
Anders Wall

 

 

Henrik Andersson

11 November–18 December 2005
Opening Friday 11 November 7-9pm

In November and December Signal is pleased to present an exhibition with the Stockholm-based artist Henrik Andersson. During this period there will be a number of evening events in parallel with the exhibition. Signal’s exhibition programme has been planned in conjunction with Full Pull 05 – electronics across the field, a festival of electronic activities in music and art.

Language, music and sound are recurrent materials in HenrikAndersson’s practice, as is his constant preoccupation with exposing and illuminating hidden power structures.

In Marx Bass (2005), Henrik Andersson has rebuilt a bass guitar so that its scale of notes is based on Karl Marx’s theory of capital accumulation. The classical, Western, musical scale uses a 1:2 relationship but the bands on the rebuilt guitar have been positioned so that an 11:4 scale is achieved, representing the formula for capital accumulation put forward in Das Kapital. It is the rise and fall of capitalism that can thus be heard projected by the loudspeakers.

If it’s not love then it’s the bomb that will bring us together (2005), consists of a sound installation and a C-print. A seismograph recording, made in Canada during the most recent nuclear-weapon test (no. 2058) in Pakistan in 1998, has been converted into audible sound that is reproduced in the gallery. The low-frequency vibrations set up by the enormous energy released during a nuclear explosion are impossible to hide.

In the third work, SMS (2005), Henrik Andersson sent the Swedish Liberal Party’s (Folkpartiet) policy document on immigration and integration as an SMS to Germany where it was read aloud by a synthesized voice using a programme that can recognize German and English. The policy document, which includes a proposal for language tests and a requirement for fluency in Swedish as a prerequisite for Swedish nationality, becomes so distorted as to be almost unintelligible. The power structures and hierarchical systems innate in language become all the more evident.

 

Martin Jacobson / Hito Steyerl

3 February–19 March 2006
Opening Friday 3 February 7-9pm

For our first exhibition of the year Signal is pleased to present the Malmö based artist Martin Jacobson and Hito Steyerl, artist and film-maker based in Berlin. The exhibition deals with how gestures and symbols are used for interpreting and producing facts and fiction.

In the body of work entitled Compositions (2006), Martin Jacobson has worked with an investigative account of attributes and symbols which have been consistently used in the portrayal of women through the ages. The moon has figured as the ultimate symbol in connection with woman while the sun has been linked with man. The clearest example of this notion is to be found in Greek mythology in the figures of the sun-god Apollo and the moon-goddess Artemis who were twins. The sun is an active, energy-creating heavenly body while the moon is a fossil planet which reflects the radiance of the sun like a mirror. In Europe, at about the turn of the previous century, the moon turned up everywhere in art and literature as a symbol for woman. Women were portrayed in front of round mirrors, in and above water, in the moonlight, veiled, sleeping, sick or dead. How are these attributes and symbols used today and how close to the original idea are contemporary media and advertising images of women?

Hito Steyerl’s film November (2004, 25 min) takes its point of departure in the feminist martial arts film on Super-8 stock she made with her best friend Andrea Wolf when they were seventeen. By tracing Andrea Wolf’s life from a fictitious martial-arts heroine to a “real” heroine in the PKK, the Kurdistan resistance movement, Hito Steyerl poses questions about the mutual influence of fiction and facts. Using poses and attributes borrowed both from the cinema and from real life we learn how the image of a hero is constructed and, at the same time, depersonalized, finally being used symbolically in other contexts. In November Hito Steyerl questions the militant gesture and the way in which traditional mythology of revolution works today at a time when it seems to have ended up in a cul-de-sac. The film mirrors the era of November, when revolution seems to have passed and only its gestures remain.