Welcome to the preview Wednesday 11.1, 4–9 pm
Abstract Possible: The Stockholm Synergies
Doug Ashford, Claire Barclay, José León Cerrillo, Yto Barrada, Matias Faldbakken, Priscila Fernandes, Zachary Formwalt, Liam Gillick/Anton Vidokle, Goldin+Senneby, Wade Guyton, Iman Issa, Gunilla Klingberg, Dorit Margreiter, Åsa Norberg/Jennie Sundén, Mai-Thu Perret, Falke Pisano, Walid Raad, Emily Roysdon, Tommy Støckel, Mika Tajima, Haegue Yang
Tensta Konsthall: 12.1-22.4
Bukowskis auction house: 27.1-12.2
Centrum för modevetenskap, Stockholms universitet: 12.1.2012-December 2013
Abstract Possible; The Stockholm Synergies explores three prominent tendencies in contemporary art which are followed, examined and problematized: formal abstraction, economic abstraction and “strategies of withdrawal.” Formal abstraction encompasses painting, sculpture, installations and video that reflect abstract languages, especially geometric abstraction, which often recalls the classic avant-garde’s development of a novel visual expression. Economic abstraction concerns art and economy, taking up the genuine abstract value of money. “Withdrawal” refers to the wave of artists’ initiatives during the last 15 years that have deliberately not joined what we can call the “mainstream” in order to create a greater degree of self-determination for the artists.
In correlation with Abstract Possible; The Stockholm Synergies, the report Contemporary Art and its Commercial Markets: A Report on Current Conditions and Scenarios for the Future is published by Sternberg Press. The report is edited by Olav Velthuis and Maria Lind and includes contributions by Stefano Baia-Curioni, Karen van den Berg/Ursula Pasero, Isabelle Graw, Goldin+Senneby, Noah Horowitz, Suhail Malik/Andrea Phillips, Alain Quemin and Olav Velthuis. Design by Metahaven. A symposium on the occasion of the report’s release will take place on Saturday 28.1.
This report explores a number of interrelated institutional developments in the last couple of decades, which have had a significant impact on the way art is marketed and perceived by its audiences. For instance, the rise of the art fair, the internet and the increased competition of auction houses on the contemporary market both reflect and further propel the globalization and commercialization of the art world; the latter much to the dismay of numerous artists and critics who claim that commerce has an uneasy relationship with art production and perception.
In the spring of 2011 the Art Club was initiated by a group of 11 year-old girls from a nearby school. The club is aimed at children, 10-13 years old, who meet every Wednesday afternoon to discuss and make art together with invited artists and staff.
The Bidoun Library is a mobile library consisting of books, magazines and other printed matter founded in 2009 by Bidoun Projects. Since the turn of the last century, the term “Middle East,” which was coined in the West, has existed more as a subject for discussion and study than a geographical area. Bidoun Library is an attempt to survey this territory through its printed matter—objects in which complex and historical facts and ambitions meet. Acquiring a new form everywhere it stops, at Tensta Konsthall printed matter associated with the Middle East and published in Sweden will be examined.
The new café at Tensta Konsthall, run by the cooperative Blå Vägen, will serve coffee, tea, sweets, home-baked bread and fresh seasonal organic dishes straight from the local farm.
The spatial concept and strategic changes for Tensta Konsthall have been developed by architect Nicholas Hirsch. Architect Filippa Stålhane has worked on the interior of the office and café.
Together with design studio Metahaven, who have created Tensta Konsthall’s new communication strategy, a fuller website will soon be launched featuring specially commissioned projects and texts. Curator Laurel Ptak.
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