Mother Tongue presents Blind Spots
Exploring Themes of Race in Archives of Visual Art through Curating
with Nana Adusei-Poku, Eddie Chambers, Loulou Cherinet, Power Ekroth
Saturday 27 June 2015 | 13:00 | CCA, Cinema | Glasgow

‘Blind Spots’ is a half-day event of presentations and discussion, accompanied by a film screening of Ruben Östlund’s 2011 ‘Play.’ The programme will include presentations from four discussants; artist Loulou Cherinet (Sweden/Ethiopia), curators Nana Adusei-Poku (Netherlands) and Power Ekroth (Norway/Germany), and art historian Eddie Chambers (UK).
The event will focus on curatorial and artistic interventions into different kinds of archives; asking how the creation or maintenance of archives reflect national interests and place-making; and with a particular emphasis on projects that have sought to address racial inequalities, exclusions, grand narratives and myth-making in the visual arts. Focusing on the Nordic region and Scotland, the programme will have a particular focus on the manifestation of whiteness in northern artistic cities, drawing parallels between Stockholm, Oslo and Glasgow.
Translated excerpts of writer Oivvio Polite’s ‘White Like Me: Selected Texts on Racism’ (Danger Bay Press, Stockholm, 2007) have been translated into English specifically for this event, and will be freely distributed for all audience members.

http://www.curatingeuropesfutures.net
http://http://www.mothertongue.se

Eddie Chambers
http://www.eddiechambers.com

Eddie Chambers > Curating Europes' Futures > 27.6.15

Mother Tongue presents Blind Spots
Exploring Themes of Race in Archives of Visual Art through Curating
with Nana Adusei-Poku, Eddie Chambers, Loulou Cherinet, Power Ekroth
Saturday 27 June 2015 | 13:00 | CCA, Cinema | Glasgow

‘Blind Spots’ is a half-day event of presentations and discussion, accompanied by a film screening of Ruben Östlund’s 2011 ‘Play.’ The programme will include presentations from four discussants; artist Loulou Cherinet (Sweden/Ethiopia), curators Nana Adusei-Poku (Netherlands) and Power Ekroth (Norway/Germany), and art historian Eddie Chambers (UK).
The event will focus on curatorial and artistic interventions into different kinds of archives; asking how the creation or maintenance of archives reflect national interests and place-making; and with a particular emphasis on projects that have sought to address racial inequalities, exclusions, grand narratives and myth-making in the visual arts. Focusing on the Nordic region and Scotland, the programme will have a particular focus on the manifestation of whiteness in northern artistic cities, drawing parallels between Stockholm, Oslo and Glasgow.
Translated excerpts of writer Oivvio Polite’s ‘White Like Me: Selected Texts on Racism’ (Danger Bay Press, Stockholm, 2007) have been translated into English specifically for this event, and will be freely distributed for all audience members.

http://www.curatingeuropesfutures.net
http://http://www.mothertongue.se

Loulou Cherinet
http://www.cherinet.com

Loulou Cherinet > Curating Europes' Futures > 27.6.15

Mother Tongue presents Blind Spots
Exploring Themes of Race in Archives of Visual Art through Curating
with Nana Adusei-Poku, Eddie Chambers, Loulou Cherinet, Power Ekroth
Saturday 27 June 2015 | 13:00 | CCA, Cinema | Glasgow

‘Blind Spots’ is a half-day event of presentations and discussion, accompanied by a film screening of Ruben Östlund’s 2011 ‘Play.’ The programme will include presentations from four discussants; artist Loulou Cherinet (Sweden/Ethiopia), curators Nana Adusei-Poku (Netherlands) and Power Ekroth (Norway/Germany), and art historian Eddie Chambers (UK).
The event will focus on curatorial and artistic interventions into different kinds of archives; asking how the creation or maintenance of archives reflect national interests and place-making; and with a particular emphasis on projects that have sought to address racial inequalities, exclusions, grand narratives and myth-making in the visual arts. Focusing on the Nordic region and Scotland, the programme will have a particular focus on the manifestation of whiteness in northern artistic cities, drawing parallels between Stockholm, Oslo and Glasgow.
Translated excerpts of writer Oivvio Polite’s ‘White Like Me: Selected Texts on Racism’ (Danger Bay Press, Stockholm, 2007) have been translated into English specifically for this event, and will be freely distributed for all audience members.

http://www.curatingeuropesfutures.net
http://http://www.mothertongue.se

Power Ekroth
http://www.powerekroth.net

Power Ekroth > Curating Europes' Futures > 27.6.15

IS THIS THE MUSEUM WE WANTED?

When I started working as the Director of Tartu Art Museum on April 1 last 3 year (no, it was not a joke!), I had a rather naive understanding of the work done by a state institution’s head. […] Since the whole of my time has been taken over by daily chores and problems – not issues important in terms of art history – I decided to take everyday questions out of the office and into the art hall, working with them inside the curatorial project I planned as the opening volley of my exhibition program.
Is This the Museum We Wanted? is certainly a site- and context-specific project. On the one hand, it is a very personal exhibition that reflects the experiences, thoughts and feelings of a head of an institution in relation to the institution of a museum and the most diverse aspects of its daily life. On the other, however, the exhibition that spans three floors and combines our museum’s collections with contemporary art also studies the operational logic of an art museum away from the centre, focusing on issues that are probably in the minds of many museum and art buffs. I wish to project my personal experiences as the head of an art institution in a small and isolated Eastern European town with a dwindling population on a wider surface and share them with my colleagues, cultural audience, art and museum professionals, financiers and the general public.

Rael Artel > Curating Europes' Futures > 24.3.15

Thinking Out Loud: Practices of Art in the Era of the Disenchanted

In her talk, Maria Hlavajova thinks through the intersection of two collective research projects she has initiated and guided: FORMER WEST (2008–2016) and Future Vocabularies (2014–2016). If the former aims at developing a critical understanding of the legacy of the radical resistance to power in 1989 in order to reevaluate the global present and speculate about global futures, the latter attempts to act out concrete propositions that explore the shifts in our existing conceptual vocabulary within artistic, intellectual, and activist work. Departing from the understanding of our time as that of an interregnum—in line with how political thinker Antonio Gramsci articulated the features of a historical moment that “consists precisely in the fact the old is dying and the new cannot be born”—she considers the ongoing class recompositionings throughout the world as an impetus behind the shifting terrain of the practices of art. In doing so, she asks: What are the prospective itineraries through which we can point towards what we once used to call the “future”?

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