Maria Lind

The Rematerialisation of Art From 2011-2017

Seven Years

From 2012 to 2014 a series of contemporary art exhibitions, events, and participatory forums organized by Galerija Nova, Tensta konsthall, and Grazer Kunstverein comprised the project "Beginning as Well as We Can (How Do We Talk about Fascism?)." Focusing on the startling increase of nationalism across Europe--made palpable in manifestations of fascist tendencies and the cult of heritage--the project points to the possibility and power of art to imagine futures that are not irrevocably determined by the present, but are invested with struggles fought here and now. Art and the F Word: Reflections on the Browning of Europe, edited by curator Maria Lind and the collective What, How & for Whom/WHW, continues the debate with contributions by cultural critics, curators, and artists, which articulate resistant and constructive possibilities of social and artistic production--investigating the language of politics and philosophy and also popular vocabularies, social contexts, media, science, and aesthetics. The exhibitions featured here, which form an essential part of the overall project, test the potential of aesthetic experience to question reality and upset the ideological complacency and political resignation that lead to a loss of control over the direction of social transformation. Copublished with Tensta konsthall and What, How & for Whom/WHW Contributors Lawrence Abu Hamdan, Petra Bauer & Sofia Wiberg, Barnabás Bencsik, Boris Buden, Maria Lind and Tensta konsthall, Jelena Vesic, What, How & for Whom/WHW

Reflections on the Browning of Europe

Art and the F Word

Hito Steyerl

The green room. #1

Reconsidering the Documentary and Contemporary Art

Documenting a project that turned a suburb of Stockholm into a museum that produced concrete images of a Sweden where divides are intensifying. This book documents and discusses Tensta konsthall's experimental multiyear project “Tensta Museum: Reports from New Sweden” that ran from 2013–18 in the Stockholm suburb of Tensta and beyond. Tensta is dominated by a late modernist housing estate, built on old farmland with traces from both the Iron Age and the Viking era, where today nearly 20,000 people live, a majority with a trans-local backgrounds. More than fifty artists, architects, performers, sociologists, cultural geographers, philosophers, and others contributed artworks, research projects, seminars, guided walks, workshops and much more, reporting on the past and present of Tensta, creating a “museum.” The project produced concrete images of what can be described as the New Sweden—a place with people of vastly different backgrounds, where economic and social divides are intensifying. Tensta Museum also engaged with the concept of cultural heritage and the complicated matter of how it is used in Sweden and elsewhere. Contributors Action Archive, Adam Tensta, Ahmet Ögut, Babi Badalov, Carl Larsson, Dominique Gonzalez Foerster, Emily Fahlén, Erik Stenberg, Irene Molina, the Kurdish Association, Lawrence Abu Hamdan, Mekonen Tekeste, Meron Mangasha, Petra Bauer, Ricardo-Osvaldo Alvarado, Spånga Local Heritage Association, Tarek Atoui, the Tensta Hjulsta Women's Center, Tensta Library, Beatrice von Bismarck, Boris Buden, Christina Zetterlund Copublished with Tensta konsthall

Reports from New Sweden

Tensta Museum

The curatorial includes the post production artistic practices that bring together within a particular time and space related framework disparate images, objects, as well as other material and immaterial phenomena. In its performative aspects that seek to challenge the status quo, the curatorial also includes elements of choreography, orchestration and administrative logistics. Edited by director and writer Maria Lind, this book brings together a diverse group of curators, artists, art historians, educators and thinkers, all of whom reflect on the curatorial motives, tendencies and tactics, pitfalls and exegeses in translating and thus performing cultural heritage. Contributors include Doug Ashford, Beatrice von Bismarck and Eungie Joo.

Within and Beyond Art

Performing the Curatorial

Beatrice von Bismarck

Writings by international critic and curator Maria Lind, directorof the graduate program at the Center for Curatorial Studies, BardCollege, reflect her prolific career, delving into several of hermost ambitious curatorial projects, experimental programs andinnovative collaborations. She has worked with artists such asChristine Borland, Liam Gillick, Philippe Parreno, Annika Eriksson,Deimantas Narkevicius, Oda Projesi, Bojan Sarcevic and Marion vonOsten. This collection expands on many of her thoughts oninstitutional critique and curatorial models. Since the early 1990s,Lind has been working with notable institutions throughoutEurope and the United States, as director of Iaspis in Stockholm andKunstverein Munchen, and curator at Moderna Museet inStockholm and co-curator of Manifesta 2.

Selected Maria Lind Writing

course, social reformers and charitable institutions were already using photography to arouse public awareness, to denounce urban poverty and worker exploitation; however, that usage of images for combative purposes was not as yet ...

Lars Bang Larsen

Revisiting a project that concatenated art, research, and urban activism into a visionary hybrid framework. For three weeks in October 1968, Stockholm's Moderna Museet was transformed into a sprawling adventure playground that was free to access for all of the city's children. It concatenated art, research, and urban activism into a visionary hybrid framework. Half a century later, through a series of seminars, exhibitions, and new artworks, The New Model revisits this utopian intervention, reviving discussions of public participation, children's agency, and shifting ideals of collective being. Curated by Lars Bang Larsen and Maria Lind, these inquiries took place from 2011 to 2015 at and around Tensta konsthall, in one of Stockholm's late-modernist suburbs. Through essays, exhibition documentation, and dialogues with the participating artists—among them Palle Nielsen, Magnus Bärtås, Hito Steyerl, Ane Hjort Guttu, and Dave Hullfish Bailey—this volume charts the evolution of two artistic, curatorial, and institutional experiments. Contributions by Dave Hullfish Bailey, Magnus Bärtås, Jessica Gogan, Ane Hjort Guttu, Lars Bang Larsen, Gunilla Lundahl, Palle Nielsen, and Hito Steyerl, with an artistic intervention from Metahaven

An Inquiry

The New Model

Sarah Victoria Turner

Lisa Le Feuvre

Sam Jacob

Adam Madani

Blurring the boundaries between sculpture, architecture, design and painting, the innovative practice of Rana Begum RA (b.1977) is the subject of this comprehensive monograph, which takes her processes as its focus.

Space, Light, Colour Hb

Rana Begum

Johanna Billing

Lars Nilsson

Taking the Matter into Common Hands maps out the issues surrounding collaborative art from a practitioner's perspective. With contributions from Marion von Osten, Nav Haq, 16 Beaver, Copenhagen Free University, Maria Lind and Lars Nilsson, it examines the working relations between artists and other producers of culture, and explores the future of collective action in the art world. In recent years, the art world has shown a renewed interest in collective work and activity. Collaborations between artists and artists, artists and curators, and artists and outside professionals have begun to rival the traditional focus on the individual artist. This type of collaboration has called into question how we view works of art that are not the voice of a single individual, and how that impacts on the concept of art as a means of self-expression. Taking the Matter Into Common Hands is essential for both academics, practitioners and lay audiences alike 47 colour & b/w illustrations

Maria Lind

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