Curatorial course for professionals in Arts, Crafts, Design & Architecture at Konstfack University of Arts in Stockholm.
CuratorLab doesn’t have a fixed curriculum – every year it reinvents itself anew around a leading topic, followed by studio visits, seminars, lectures, and trips, co-organized together with the participants. CuratorLab is interested in expanding the ideas of curating and the curatorial beyond the exhibition format, and in dealing with the pertinent issues of our times. In the recent years we have worked on public programing with Tensta konsthall, f.ex. re-staging the Operaist Trial with the artist Rossella Biscotti, or co-editing a reader on love and revolution drawing on the legacy of a Bolshevik revolutionary Alexandra Kollontai together with artist Dora García and curator Maria Lind. CuratorLab is open to everybody with curiosity to challenge the new curatorial practices. We intend to built a group of participants with solid experience; a grounded interest and a sense of commitment in order to share a learning experience together.
Program director: Joanna Warsza
Guest lecturers: Maria Lind, Matteo Lucchetti, Judith Wielander
Curatorial assistant: Vasco Forconi
Joanna Warsza, CuratorLab Program Director since 2014. Senior lecturer, independent curator for visual and performing arts and architecture. Artistic director of Public Art Munich 2018, curator of the Georgian Pavilion at the 55th Venice Biennale, Public Program of Manifesta 10 in St. Petersburg.
Maria Lind, Guest lecturer since 2014. Director of Tensta konsthall since 2011 until 2019 and has carried out exhibitions as a co-curator at the gallery, including Frederick Kiesler: Visions at Work, annotated by Celine Condorelli and six student groups; The New Model with Dave Hullfish Bailey, Magnus Bärtås, Ane Hjort Guttu and Hito Steyerl; Tensta Museum: Reports from New Sweden and many more. in 2016 she was a curator of the 11th Gwangju Biennale.
Matteo Lucchetti, Guest lecturer for 2020/2019. Curator, art historian, and writer. His main curatorial interests are focused on artistic practices that redefine the role of art and the artist in society. Since 2010, Lucchetti is chief curator, with Judith Wielander, the Visible project, a research endeavor and the first European biennial award devoted to socially engaged artistic practices in a global context, initiated and supported by Pistoletto Foundation, Biella and Fondazione Zegna, Trivero.
Judith Wielander, Guest lecturer for 2020/2019. An independent curator based in Brussels. Her main curatorial research is focusing on the intersection of Art and Social Engagement. She has been curator at Cittadellarte – Fondazione Pistoletto from 2002 to 2010. Judith Wielander has initiated in 2009 in dialogue with Michelangelo Pistoletto the Visible Project and co-curates it since 2010 with Matteo Lucchetti.
Michele Masucci, Guest lecturer for 2018/2017. Artist, researcher and Ph.D. candidate at Karolinska Institutet and the Academy of Fine Arts Vienna, as well as translator of Italian political philosophy into Swedish, including Paolo Virnos 'Grammar of The Multitude'.
Anna Tomaszewska, Guest lecturer for 2016/2015. Curator, producer, researcher, former deputy director of the Polish Institute in Stockholm, where she was responsible for visual arts, architecture and design. Board member of Swedish organisation Mossutställningar, which focuses on public art.
Renée Padt, CuratorLab Program Director, 2008 to 2014. Born in the Netherlands and now based in Stockholm, Sweden, Renée Padt is a curator and producer in the fields of art, craft and design. With a background in museology and art history, she has produced numerous exhibitions and cultural events in museums and art institutions worldwide, including the Venice Biennale, Documenta11, The Museum of World Culture in Gothenburg, and the Bauhaus in Dessau.
Karina Ericsson Wärn, CuratorLab Program Director, 1999 to 2008. Lives and works in Stockholm and Paris. Vice-chancellor at Beckmans College of Design in Stockholm since 2018. Curator and writer within the field of fashion, photography and contemporary art. Co-founder and former director of Galleri Gauss and Index-The Swedish Contemporary Art Foundation.
Måns Wrange, founder and Program Director, 1999 to 2006. Artist, writer, curator and educator based in Stockholm. Since 2019 rector of the Oslo Academy of Fine Arts. From 2014 to 2017 he held a guest professorship at Stockholm University. From 2008 to 2014, Måns Wrange was rector of the Royal Institute of Art (Kungl. Konsthögskolan) in Stockholm, and from 1995 to 2008, he was first head of department and then professor at Konstfack – University College of Art, Crafts and Design in Stockholm.
Abdellah Karroum, Ana Teixeira Pinto, Andjeas Ejiksson, Anna Tomaszewska, Andre Lepecki, Andrea Philips, Annie Fletcher, Annika Eriksson, Annika Enqvist, Annika Larsson , Anthony Huberman, Azat Sargsyan, Barbara London, Beatrice von Bismarck, Behzad Khosravi, Benjamin Noys, Binna Choi, Carles Guerra, Carol Tulloch, Charlotte Bydler, Charles Esche, Chris Dercon, Chus Martínez, Diana Baldon, Doreen Mende, Edi Muka, Ekaterina Kalinina, Elena Tzotzi, Elin Lundgren, Emily Roysdon, Ewa Majewska, Eva Gonzalez-Sancho, Fredrik Liew, Fredrik Svensk, Gabi Ngobo, Gavin Wade, Goldin + Senneby, Harm Rensink, Helena Selder, Isabel Löfgren, Janna Graham, Jesper Nordahl, Jonatan Habib Engqvist, Kim West, Lars Bang Larsen, Laurel Ptak, Lena Jonson, Lívia Páldi, Lisa Rosendahl, Magdalena Malm, Marc Herbst, Maria Lantz, Marina Vishmidt, Mark Fisher, Markus Degerman, Marta Kuzma, Martí Manen, Martin Fritz, Martin Schibli, Mats Sternstadt, Mattin, Michele Masucci, Nataša Petrešin-Bachelez, Nina Möntmann, Olaf Nielsen, Olav Westphalen, Olivia Plender, Pablo Lafuente, Patricia Reed, Paul O'Neill, Petra Bauer, Power Ekroth, Raimundas Malašauskas, Rasmus Nielsen, Rebecca Gordon Nesbit, Rick Lowe, Rossella Biscotti, Shahram Khosravi, Sinziana Ravini,Sofia Hernandez Chong Cuy, Sofia Victorino, Søren Grammel, Stealth.unlimited, Stefanie Hessler, Staffan Lundgren, Suhail Malik, Tai Shani, Tone, Warren Neidech, Zoran Eric
Socially Engaged Curating in Post-Democratic Times. Take part in a public jury in the form of a temporary parliament and defend art for social change.
For the academic year 2019/2020, we invite you to take part in a long-term jury and the temporary parliament of the Visible Award, directed by curators Matteo Lucchetti and Judith Wielander. The Visible project (Cittadellarte-Fondazione Pistoletto and Fondazione Zegna, Italy) is an international research platform and an award devoted to art in the social sphere, that aims to produce and sustain socially engaged artistic practices in a global context. It supports and traces the artistic practices that have left their own field behind to become visible as part of something else, often implementing art in the fields of law, environment, politics, migration or economy – such as The Silent University, Conflict Kitchen, or the Karrabing Film Collective, among many others. The needs arising from this kind of expanded forms of art demands also an expanded understanding of the curatorial skills.
CuratorLab participants are invited to work in response to the shortlisted projects for the 2019 Visible Award edition in Paris, contextualizing the practices and methodologies of the selected artists via interviews and workshops, and participate in the public jury, in the form of a temporary parliament, as defendants. The debate will be held in Paris in Fall 2019, in partnership with Lafayette Anticipations. We will engage in the questions of which curatorial methodologies need to be developed around socially engaged artistic practices? How can art institutions and art formats be reformatted to go beyond exhibition and display towards agency and engagement? What is and could be a place of curators in this process? Additionally we will ask how can an award and a parliament be a performative form in producing public discourse beyond a competition where social issues are at stake? Each of the participants will work with a chosen artist or a collective to follow up on those questions, and will be granted a small budget of 15.000 SEK (1500Euro) to develop public programing in February or May session. Join us to explore how could art and socially engaged practices work together in an ethical, sensitive and complex way?
We will meet four times per year for 10 days sessions:
Early September 2019– meeting in Stockholm, introduction to Konstfack, the city, and the Visible Award, presentation of the art projects and forming of the groups.
November 2019 – Stockholm and Paris – preparation of the defence and the arguments, workshops in Stockholm and Paris.
February 2020 – Evaluation of the projects, documentation and written reflections, mapping up the questions, developing methodologies. Follow-up with the nominated artists: developing conversations or texts around nominated artists practices, writing workshops. To be published on the Visible and CuratorLab websites
May 2020 – Follow up and a sum up, and a common on-line publication. Participation in the public program of Konstfack Degree Show. A final public project in collaboration with Public Art Agency in Sweden.
Alba Martinez Folgado
Pia Sri Chakraverti - Würthwien
Throughout the academic year, 2018-2019, CuratorLab participants worked alongside the curators Maria Lind and Cecilia Widenheim developing the mediation and public programme for the exhibition, Migration: Traces in an Art Collection, shown at Tensta konsthall and Malmö Konstmuseum in spring and autumn 2019. The starting point of the research was a question of how to work curatorially with public art collections by responding to notions of the public, publicness, the commons, the counter-public, the private, the shared, and the owned. Every participant was engaged in conceptual and hands-on research on the third biggest collection of ‘Nordic’ art in Sweden, from visiting its storage, having a conversation with the conservators and technicians, to develop their own projects. The research began by considering an event in 1945, when the staff of Southern Sweden’s largest museum, Malmö Museer, transformed the institution into a refugee center for those who had survived concentration camps in Germany and had come to Sweden on so-called ‘white buses’. From there, the participants outlined research topics and readings, asking what the role of the curator is in actualising and problematising collections, while also developing the exhibition’s programme, which considered exile, migration, displacement, and art travels in the globalised world.
Raquel Villar Pérez
CuratorLab 2018-2017 participants together with writer Michele Masucci, collectively revisited the ideas of a Russian revolutionary and feminist, Aleksandra Kollontai, exploring topics such as sexual politics, free love, and motherhood. Kollantai was a prominent Russian revolutionary, a commissar of Social Welfare after the October revolution in 1917, and a long-term Soviet ambassador to Sweden. As a cofounder of the Zhenotdel, the ‘Women's Department’ in the communist party, she introduced abortion rights, secularized marriage, and provided paid maternity leave. Kollontai considered ‘comradely love’ to be an important political force and foundational to shaping social bonds beyond the limitations of property relations.
As a result our research we published a reader on the subject, titled Red Love, stemming from their year-long collaboration with Tensta konsthall, leading to Dora García's exhibition, Red Love. We also developed a related public programme to the show. A number of artists and thinkers revisited Kollontai's ideas throughout the book, on the politics of love and their relation to current political, social, and feminist struggles. The publication also includes the biographical play, Kollontai, written in 1977 by distinguished Swedish writer, Agneta Pleijel.
Red Love: A Reader on Alexandra Kollontai Kollontai. A Play by Agneta Pleijel
Federico Del Vecchio
Malin Sujeewa Huber
Throughout the academic year 2016/2017 we have been working together with curator Maria Lind and writer Michele Mascucci on re-staging The Trial / Il Processo (2010/2017), a performative piece by Italian artist Rossella Biscotti, based on the original courtroom recordings from the 1982–84 trial of members of Autonomia Operaia in Rome. CuratorLab organised related research, reading groups, and meetings, prepared the transcripts and finally enacted The Trial at Tensta konsthall in Stockholm first as an open rehearsal, and then as a performance at the Hamburger Banhof in Berlin.
Iaspis Open House Spring 2016 curated by CuratorLab
This edition of the Open House took on the concept of openness, hospitality, transparency and vulnerability, making access not only to the artists’ studios, but the institution as such and bringing the new public in-house. In a series of day and night events Open House presented the work in progress of Iaspis artists in residence program, as well as hosted the performative interventions of the Stockholm emerging scene, with its collectives contributing with food, self-made publication on demand, and a music repertoire. The main idea was to refer to the Swedish tradition of so-called Open House, when people organize a party open to everybody, an exhibition of their domicile, bringing the world into their life, and their life to the world.
When the Iaspis programme opens the doors of its studio residencies for a day, it is an invitation to take part in the on-going artistic processes. The Iaspis studio programmme’s focus is ‘research based’; a place of investigative activity that offers time off from the production line of making. The grant holders can spend their time at the residency to reflect, explore and enter into unconditional processes without the need for results. They initiate new projects in local partnerships or work on on-going projects.
The studio and the context created by the Iaspis programmme is in itself a platform for informal and formal meetings with Swedish and international artists, curators, writers and with professional audiences. The programme’s residence activities are therefore about process itself, with the aim to add to a greater internationalization of the applied and visual art scene in Sweden.
Iaspis grant holders March 2016Azadeh Fatehrad, Tehran/London; Ayesha Sultana, Dhaka; Benny Nemerofsky Ramsay, Berlin/Montreal; Cecilia Hultman Sundsvall/Stockholm; Isak Sundström, Stockholm; Jenny Lindblom, Eskilstuna/Amsterdam; Mafune Gonjo, Strängnäs; Ruangrupa Arts Laboratory division (ArtLab), Jakarta; Vladimir Nikolić, Belgrade; Maria Nilsson Waller, Göteborg
The International Dance Programme, KID Maria Nilsson Waller, Göteborg
Raquel Machetes Benito
Frederick Kiesler: Visions at Work Annotated by Céline Condorelli and Six Student Groups including CuratorLab at Tensta konsthall
In winter 2015 Tensta konsthall showed the first exhibition in Sweden of Frederick Kiesler’s genuinely transdisciplinary work. Kiesler (1890–1965) was an architect, artist, scenographer, pedagogue, theorist and - not least - a groundbreaking exhibition designer. CuratorLab participants developed own public program of the show spanning from an exhibition in the shop windows in the shopping mall nearby, via reading groups on friednship to the selection of the reading material at the library. The exhibition featured models and documentations of Kiesler’s designs for exhibitions, buildings, interiors, shop-windows, etc. from various periods. The exhibition also included prototypes, including those of his Mobile Home Library and the mass-produced so-called correalist furniture, among others. The focus was on Kiesler’s interest in the intersection between art and life and how this manifests in his works. The artist Céline Condorelli, who has a long-time interest in exhibition design and modes of presentation, contributed to the spatial design of the project.
Student groups from KTH Tensta, KTH School of Architecture, Mejan Arc at the Royal Institute of Art, Interior Architecture & Furniture Design and CuratorLab at Konstfack, and a fifth grade at Askebyskolan in Rinkeby were all involved with the exhibition.
Kalliopi Tsipni Kolaza
Bronwyn Bailey Charteris
Michele Elefante Salvatore
Rie Hovmann Rasmussen
Haizea Barcenilla Garcia
Maria Andueza Olmedo
Rosa Lleo Ortin
Cinthya Oliveira Cardosa Lana
Valerio Del Baglivo
Alexa Griffith Winton
Michael Dominic Capio
Pádraic E. Moore
Maia Niki Gianakos
Ellen von Zweigbergk
Ane Mette Hol
Hanne Mugaas Joakimsen
Maria LagergrenRebecka WighThomas Watkiss
Balancing Acts, took place at the Centre Culturel Suédois (CCS), Paris in 2004 and included the artists Gunilla Klingberg, Felix Gmelin, Lars Siltberg, Johan Thurfjel, Amanda Cadell, Luca Frei, and Kajsa Dahlberg.
The first ever class to graduate from CuratorLab at Konstfack showed their exhibition-projects under one and the same roof at Färgfabriken. The exhibition was called, Lost in Space and displayed the works of seventeen artists from different parts of Sweden and from Norway. The title, Lost in Space, does not refer to outer space as much as to the question of accessibility of space here on Earth.
The title also alluded to the current situation for young contemporary arts practitioners, namely, the lack of spaces to exhibit and to reside in. While Lost in Spacewas one exhibition, it had five different components, since five curators made selections of artworks and artists with regard to their own ideas and projects. A catalogue produced for the show presented the works and curatorial ideas behind the exhibition.
If I had - Om jag hade - Si yo tuviera by Jari Malta
Vår Tid (our time) by Jeongwon Chae
Handout: souvenir from Tea Party with Maja Berezowska by Kasia Sobczak
Museum of Care by Lotte Løvholm
Russian revolution Revisited, A project on archive material and contemporary practices by Domna Gounari
Everything is fine,or the continuous search for a utopia by Sofia Mavroudis
Ner/slag – Upp/brott – Sönder/fall by Jacob Hurting
Washed Out curated by Corina Oprea, Isabel Löfgren, Judith Souriau, Milena Placentile, and Valerio Del Baglivo
Open Call for Applications CuratorLab 2020/2021
Meeting ancestors. Writing and editing two books together with curators Maria Lind and Joanna Warsza on the work of pioneers-curators.
For the academic year 2020/2021 we invite you to work alongside curators Maria Lind and Joanna Warsza to plan, edit and write together two books of interviews with our forerunners: curators who went beyond the mainstream, paving the way for approaches which are prevalent today, opened ways to deal with postcolonial, queer or political theory or practiced anti-hegemonic exhibition making, and yet remain little known in both recent curatorial practice and art history, far before the curatorial hype. Together we will form a research team, map, investigate, work on the archives but also meet and interview some of “the ancestors of our field”. Each participant will be asked to select two case studies, one
from each of the following proposals. We will work together towards a double publication to appear in May 2021 accompanied by a series of public programs in Stockholm.
We will meet and interview curators and institutional directors such as Elisabet Haglund (Kulturhuset in Stockholm and Borås Konstmuseum) Gunilla Lundahl (the magazine Form and independent projects), Jan-Erik Lundström (Fotografiska museet and Bildmuseet in Umeå) and Carlos Capelan (independent projects). We will conduct archival research connected to their work. We will also visit the city archive of Stockholm and the archive of the Labour movement (Arbetarrörelsens arkiv) as well as the Konstfack’s archive in order to connect their legacy to contemporary discourse.
What is public in public art? How have the notions of situated or embedded knowledge changed over the years? What were the early attempts of demonumentalising art outside of the museums? We will study some worldwide examples of pioneer exhibitions of public art, interview the curators and artists, digitalize and problematize their legacies. We will work on legendary exhibitions and curatorial projects like Culture in Actioncurated by Mary Jane Jacobs in 1993 in Chicago; Sonsbeek 93 curated by Valerie Smith; Endlichkeit der Freiheit, an exhibition started by Heiner Müller and Rebecca Horn on both sides of Berlin wall and realized after it felt down; Construction in Process, an artist-initiated site-specific exhibition in Łódz in the early 80s, and the Skulptur Projekte Münster, among others.
The research will include live presentations/interviews with forerunning curators, research trips, meetings, archival work, workshops and the final publication presentation in May. There is a common budget, which is managed and decided collectively, and each of the participant will be responsible for a part of the spendings. We will be also in charge of hosting seminars, creative writing workshops and other public events at Konstfack and other places in Stockholm. We encourage those with an interest in writing, editing, as well as Scandivanian speakers to apply. We welcome participants with longer experience in the field, and are open to your proposals of the historical figures in mentioned fields. Each participant will join both teams with one case study of your choice.
Early September 2020– introduction to Konstfack and Stockholm, presentation of the projects and forming of the groups, possible common study trip.
November 2020– workshops in Stockholm, group work on the interviews, creativing writing and editing workshops, possible public programs and trips, individual meetings.
February 2021– Follow-up: edits and graphic design work, common seminars, possible trips.
May 2021– Follow up and a sum up, the launch of the publications. Participation in the public program of Konstfack Degree Show and in program in town.
You do not need to be based in Stockholm, however attendance during all the sessions is necessary.
As a reference please have a look at this Reader produced together with the participants of CuratorLab 2017/2018 Red Love. A Reader on Alexandra Kollontai published by Sternberg Press.
To apply go to the Konstfack website.
KonstfackLM Ericssons väg 14126 26 StockholmSweden
+46 8 450 41 00
Scroll to top
designed byStudio Pyda
website editorKasia Sobczak
archival materials editorCandace Goodrich