Through out the week of Konstfack’s yearly degree show, has A.S.A.P initiated two projects. One part is a withdrawal to the president of Konstfack’s office space. This part is both an installation of two A.S.A.P displays, as well as two ‘detention’ meetings with invited speakers.

On Friday the 20th of May talked Daniel Berg (aka Seriemord, http://seriemord.blogspot.com). Daniel Berg is a PHD student in economy at Stockholms Universitet with a close interested in economy and environmental issues. The second conversation, on Friday the 27th May was Tuula Kuosmanen invited. She works as the director of Admission Department at the VHS (The Swedish Agency for Higher Education Services). She talked about the new application procedure and in more generally the work of VHS and Studera.nu. The meetings has importantly improved our understanding around the subject and we are slowly connecting the dots between decisions, conservative ideology, money and knowledge production.

A.S.A.P has also during the week of the spring exhibition been sending a series of postcards to the educational department of the government. There were also a manifestation on the opening night, in which we tried to raise awareness about the issue. Finally: a public display of the project is on view in the main exhibition hall of Konstfack, the Vita Havet.

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Paletten and ASAP

Måndagen 18 april, kl 17.00, Konstfack (ingång Dialog gatan). Maria Lind presenterar numret, Brian Kuan Wood och Bernd Krauss talar och konstnärsgruppen ASAP presenterar ett aktuellt projekt som handlar om införandet av studieavgifter. Bar och DJ Adriana Seserin

Palettens nya nummer kretsar kring en rad frågor som rör konstens förhållande till samhället, till ekonomi, utbildning, konsumtion och ägande. Den amerikanska curatorn Christina Linden skriver om det intensifierade intresset för “social practice” inom konsten och diskuterar den kritik som ofta riktas mot sociala konstprojekt. Den brittiska aktionsgruppen Precarious Workers Brigade beskriver engagerat fjolårets demonstrationer i London mot höjningarna av högskolornas terminsavgifter. Konstnären Marysia Lewandowska och curatorn Laurel Ptak, båda verksamma i New York, medverkar med ett samtal som handlar om ägande och upphovsrätt.

Numret innehåller också fördjupade presentationer av flera enskilda konstnärskap. Den amerikanske forskaren Nico Vicario skriver om Malmökonstnären Viktor Rosdahl, Mats Stjernstedt presenterar den ukrainska konstnären Alevtina Kakidze och Cecilia Widenheim diskuterar den cypriotiske konstnären Christodoulos Panayiotous arbeten. New York-kritikern Laura Barlow analyserar den tyske konstnären Bernd Krauss handskrivna tidning Der Riecher och Malmöcuratorn Elena Tzotzi medverkar med en bred presentation av den koreanska konstnären Haegue Yangs installationer.

Paletten har ofta upplåtit sina sidor åt konstprojekt. Inbjudna konstnärer i detta nummer är Deb Sokolow (Chicago), som förutom fyra sidor i inlagan även står bakom omslaget, samt Karl Larsson, som i sin tur bjudit in Valentinas Klimasauskas (Vilnius).

Arrangemangen den 15 och 18 april då Brian Kuan Wood medverkar genomförs i samarbete med Iaspis. Arrangemangen i Göteborg genomförs med stöd av Göteborgs kulturnämnd och i samarbete med Hit. Arrangemanget på Konstfack genomförs i samarbete med konstnärsgruppen ASAP.

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20 April A.S.A.P at Konsthall C Cetrifug UNFINISHED ANALOGIES (22.4 2011—8.5 2011)
A paper tape exhibition curated by Jacquelyn Davis (with the assistance of Christine Antaya) of valeveil: a Stockholm-based curatorial node. OPENING! 23.4 2011, 2-4 pm

Nothing changes from generation to generation except
the thing seen and that makes a composition.
- Gertrude Stein, “Composition as Explanation”

In light of Sweden’s recent decision to introduce tuition and application fees for incoming non-EU/EEA/Swiss students, highlighted artists, designers, activists and writers examine and respond to how these alterations affect the atmosphere of higher education―specifically, Sweden’s art schools and government-funded creative institutions. In the EU, policy changes which pertain to accessible education opportunities are being implemented. “Unfinished Analogies” hopes to provide an entry point into how these emergent laws alter the relationship between the art school, art student and international student. It is essential to evaluate governmental correlations made between notions of quality and economic status, as well as to pinpoint the confusion between quantity and quality in relation to the culture industry.

The validity of an arts education and the methods that art schools employ deserve closer examination. Many questions arise when considering the international student’s changing role in Sweden’s art school setting, such as: When is it harmful to place collective identity above individual identity? Are collective responses to a current event more effective than separate, individual instances? When is a response to a current topic effective―when does it fall short? How does identity politics relate to art-making, and are homogeneity vs. heterogeneity linked to creativity? How will diversity change, given the reduced recruitment base for Swedish art schools? What does it mean to be educated, and is an individual’s arts education apparent when examining their creative evolution? How is talent cultivated in an art school environment―which art schools are successful at this and why? Are self-education/DIY alternatives viable for those unable to attend art school? What are the implications for Sweden as an ‘open society’?

A call-response exercise, contributors were given an opportunity to create new work as a response and/or critique, to provide solutions, navigational insight or perspectives. Works range in content and form: congruent work, winnerless games, critical texts, readings, media appropriation, rhetorical dissection, commentary and activism.

Art student is to art school as international student is to _____.

EU-student is to non-EU student as education is to _____.

Student is to education as art student is to _____.

Quality is to quantity as art is to _____.

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A10 readers

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‘The structure of a frame’

I would like my proposal ‘The structure of a frame’ to be considered at Konstfack’s next scholarship committee meeting. The funding of 265 900 Swedish crowns will go towards the costs of studying for one year on the masters programme at Konstfack and towards the application fee of 900 Swedish crowns.

During this project I will continue to develop my research, which explores notions of what transpositional possibilities can be.

‘The structure of a frame’ is part of an ongoing research project entitled: Intersectional Structures; The Politics of Space. This research consists of a series of events, through which I aim to question the crucial role that ‘location’ and ‘positioning’ play in the production of art and culture. In an artwork later this year ‘I decided’ to elaborate on the discussion of what location is and how it can be publicly discussed. Although un-concluded ‘it aimed’ to discuss how collective working strategies within artistic production can create ‘Public’.

One of the focus points for this project is to look at the new reform agenda regarding tuition fees for non European students. I consider this to be part of a larger context which leads to a privatization of thinking. This economical change will have a huge impact on the working conditions within the academy and also within society at large. The new circumstances risk establishing an economic border and consequently may bring into question the fundamentals of a democratic society.

In the forthcoming production, as part of the Masters programme at Konstfack, I will aim to focus more on concepts related to ‘positions’ and ‘position-taking’ as a mode of intersectional thinking. I am especially keen to develop a thesis that explores the crucial role played by economic constraints, in allowing transpositional possibilities to exist, within the field of knowledge production.

The project will perform an occupation of space, as a political act. It will begin by inviting thinkers from various backgrounds to a series of talks, on the cultural economy and the importance of taking a position. This think tank will provide the platform for the ongoing research. A forthcoming publication will later be produced which will aim to ‘demonstrate’ the various transpositional perspectives that will arise from ‘The structure of a frame’.

On this endeavor I would appreciate your support.

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Remapping the map

We are going to try organize some of the thoughts from the black board and remap the map to a better map. There will be political radio.

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Wild horses

Wild Horses is a self-organized student led course. Always in development and change this course wants to look at what a course is and the problematics of a student led course. Beginning by asking questions such as: who tutors who? Who should get the teacher salary when everyone is on the same hierarchical level? Who allocates credits at the end of the course? what does it mean to have a student led course?

On Thursday we will continue “writing the course plan”, this we do simply by hosting events once a week for the other individuals in the course. On Thursday we will respond to the subject of the week, education and what collective learning means. Each participator in the course has been given a questions that needs to be answered by a song. These songs will later form the base for writing a speech.

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Enlightenment Hearts

Enlightenment Hearts would like to invite anyone who is interested to come along to our next reading session. This is the first public reading we do and it will take place in Studio A10 at Konstfack.

Enlightenment Hearts is a group of reading enthusiasts who meet once a week to read and discuss an essay of their interest. The idea of reading together is that we can help each other to better understand the text.

If you would like to join us for the next meeting, please read the text that can be found (here) prior to the meeting. Everyone attending will have the opportunity to participate in the discussion. Together we will read the text out loud allowing anyone the possibility to interrupt the reading to comment or ask questions.

No one is an expert but together we will straighten out the question marks. Remember, one does not have to understand everything of the text, or the author, beforehand in order to come along, enough just to have read it through once.

The schedule will run as follows:

- 6 pm pea-soup and soul, bread, humus and carrot sticks

- Approximately 7-7.30 pm Reading session begins

- The event will end at approximately 9/10 pm

We look forward to seeing you.

warmest wishes.

Enlightenment Hearts.

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Wrange for tea

Rektor Måns Wrange from KKH (Mejan) will come and have a cup of tea with us on Thursday morning.
All people welcome.

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Please note SCHEDULE changes…

There has been a slight change in the schedule, Wild Horses has been moved to Thursday 9am. We are hosting two events tomorrow (Wednesday) in Atelje 10 (opposite the casting workshop) that I would like to invite you to: Wild horses has been moved to Thursday morning…. all welcome as always.

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