Sunday, December 12, 2010

Yane CALOVSKI "Obsessive Setting" @ ŻAK | BRANICKA Gallery, Berlin

until January 8, 2011


Davide Bertocchi & Samon Takahashi
December 3 to february 7

MNAC, Bucharest
1st floor: Interstellar Static
4th floor: A video selection

Muzeul National de Arta Contemporana

Str. Izvor, Nr. 2-4
(Palatul Parlamentului, aripa E4, intrarea prin Calea 13 Septembrie),

Friday, December 10, 2010

>unknown – Per Hüttner at Zendai Contemporary Art Exhibition Hall

Co-curated by Li Xiaofei and Alessandra Sandrolini

Within his artistic body of work, Per Hüttner engages in an aesthetic and existential quest for personal freedom and its ensuing frictions. To pursue this liberation, he looks for ways to renegotiate the relationships between the individual and the collective, in the social, political and spiritual spheres, and to push further the boundaries of human experience and knowledge.

For this sculptural installation, the artist creates a liquid space where moving images and a select number of objects become a part of a complex system of interconnected ideas.

Four videos form the hub of the exhibition and show mysterious rituals enacted by various characters. The films reveal an intimate and sensual love for the secret knowledge hidden in nature and culture. The characters are engaged in the poetic act of eating books or fruits of peculiar flowers. Even though they are acted by different actors, it seems that we pry into the life of the same human subject. The images show mundane situations that have been shifted ever so slight to reveal the vastness of the unknown in our everyday experience. Simply and wisely, the artist invites the viewer to break the subtle frame of reality and limited illusion and to embrace the unknown.

Tuesday, December 7, 2010


Wednesday 8th of December at 6 pm
How can we think of artistic labour in a time when an essential part of the labour market is defined as creative and artistic? Josefine Wikström is a freelancing curator and writer based in London where she recently finished an MA in Philosophy at Middlesex University. Together with art critic Fredrik Svensk she will discuss the difference between productive and artistic labour.

The talk is the first part of the events program Art After Work which takes place in relation to the exhibition Everything Under Heaven is Total Chaos by the Swedish artists International Festival.
The talk will take place in English.

Göteborgs Konsthall
412 56 Göteborg

Monday, December 6, 2010

Program OUUNPO 10-11-12 (12) 2010 AMS-NIJ

(open for changes)

FRI 18:00 – 20:00
Alexandre Singh
Kunstverein - Amsterdam

FRI 21:00 – 22:00
Snejanka Mihaylova
Rongwrong - Amsterdam

SAT 12:00 - 13:30
Tour de Brain Humane
Dr. Amanda Kiliaan
Museum of anatomy and
pathology – University Medical
Center (UMC)

SAT 14:00 – 15:00
Brain activity of Creation
Paul Gaalman, Samon Takahashi, Miriam de Boer and Stephen Whitmarsh
Donders Neuroimaging Center – Magnetic Resonance Laboratory - Nijmegen

SAT 15:30 - 17:30
OuUnPo meeting - part I
OuUnPo -members
Donders Neuroimaging Center - Magnetoenchephalography Controller Room - Nijmegen

SAT 17:30 - 18:30
Tradition Dutch Winter Dinner & Screening
Donders, Neuroimaging Center – Oval Office - Nijmegen

SAT 18:30 – 20:00
OuUnPo meeting - part II
OuUnPo -members
Donders Neuroimaging Center - Magnetoenchephalography Controller Room - Nijmegen

SAT 23:00 – 00:00
After J.G. Ballard, re-enactment of a performance: “suppression of alpha oscillations in observation of pain in others”
Elena Nemkova with Stephen Whitmarsh
Rongwrong - Amsterdam

SUN 11:00 – 13:00
Future of OuUnPo Brunch
OuUnPo -members
Café Koosje – Amsterdam

(The program is not public)

Sunday, November 28, 2010

The Invisible Generation publication is taking shape

Hello Everyone,

The Participants of The Invisible generation projects in Melbourne, Shenzhen, Beijing and Kiev are all waiting for Vision Forum's first publication that looks at the outcome of these magnificent projects. Editor Gerrie van Noord and designer Marie are working day and night on either side of the English Channel to get everything ready to send off to the printers after Christmas. Here are two unofficial samples of how it might look! For more documentation and info about the project click here.


Per Hüttner in collaboration with Jean-Louis Huhta - curated by Anne Klontz
Performance – Saturday 4 December kl 19

“There is an invisible and little known force amongst us called ‘The Quantum Police’. They operate internationally and assimilate unnoticed into civilian communities. Their actions strive toward renegotiating the relationship between individual and society and claim that the law, morality and reality are all unique to the inner self.”

For the event at DKTUS, artist Per Hüttner will create a performance based on an anonymous woman’s role as a QP mediator and will include her entire transcribed interview along with videos and music played outside the gallery’s courtyard. In collaboration with Hüttner, musician and DJ, Jean-Louis Huhta will perform using a unique musical score created by Charlie White, an artist who in the late 80s developed a series of performances he called “Interviews” based on conversations with QP founder Johnny Ross. White believed that over time, Ross lost sight of the true meaning behind QP and therefore wanted to re-establish his voice as the strength of the movement. White added a soundtrack to the interviews which were then re-interpreted by a DJ as White performed wearing an LAPD uniform and using materials like glass sheets, halogen lamps and vinyl texts.

A reflection on the event can be found here.

Sunday, November 14, 2010

Natalia Kamia @ Mors Mössa Gothenburg

Natalia Kamia presents her trans-disciplinary work at Gothenburg's cult gallery Mors Mössa. She will perform live with Martin Nurmi on the first and last days of the exhibition. Kamia also recently performed at Noid Gallery in London.

More info about the two events here.

Monday, November 8, 2010

Public discussion at Verkstad - "Upplev Norrköping" or "Poland is Normal"

Time: Thursday 11/11, 6pm
At: Verkstad, Kvarngatan 38, Norrköping.

Eva Arnqvist, artist
Josefina Syssner, researcher at Tema Ethnicity, Linköpings universitet
Kerstin Volminger, the Tourist board of Norrköping
Chaired by : Matilda Bengtsson, curator Verkstad


Also, we want to remind for those of you who have bought your new suits, red ties and who have had their hair cut, to not forget to sign up for our new internship program.

More info here:

Saturday, October 23, 2010

Vision Forum in NYC, Philadelphia and Detroit

Vision Forum members Fatos Ustek and Per Huttner are on a mini-tour of the East Coast. They will present new performances at Blago Bung/Emily Harvey Foundation in New York (Neither Dead nor Alive) and at Basekamp (Observe the Apprehension) in Philadelphia and also interview the father of cryonics Robert Ettinger in Detroit for Nowiswere.

keep an eye here, here, here and here for documentation and more information.

Monday, September 20, 2010


Stills from "The Limits of Control" by Jim Jarmusch, 2009

Creativity is the fountainhead of human civilizations. All progress and innovation depend on our ability to change existing thinking patterns, break with the present, and build something new. Given the central importance of this most extraordinary capacity of the human mind, one would think that the underlying neurocognitive mechanisms of creative thinking are the subject of intense research efforts in the behavioral and brain sciences. To study creative ideas, and how and where they arise in the brain, is to approach a defining element of what makes us human. […] There are several reasons why neuroscientists did not tackle creativity with the same kind of resolve as they did, say, with attention, memory, or intelligence. The most important of these is surely the problem of finding a way to study the creative process, especially its neural basis, in the laboratory […] The most important of these is surely the problem of finding a way to study the creative process, especially its neural basis, in the laboratory— under tightly controlled conditions. Clearly, one cannot simply take a volunteer, shove him/her into the nearest brain scanner, and tell him/her: Now, please be creative! The same, one might think, holds for insights. An insight is so capricious, such a slippery thing to catch in flagrante, that it appears almost deliberately designed to defy empirical inquiry.

A Review of EEG, ERP, and Neuroimaging Studies of

Creativity and Insight, Arne Dietrich and Riam Kanso, American University of Beirut

Thursday, September 9, 2010

Natasha Rosling ‘Foreign Bodies’

September 9 - October 17, 2010
Private View: Wednesday 8 September, 6-9 PM

Hidde van Seggelen Gallery presents an exhibition by Natasha Rosling (London, 1985). Constructed within the new gallery, Rosling has integrated the gallery wooden roof as a rack from which her largescale structures dissect and hover above the ground. Over the recent years Rosling has produced installations internationally: at OCAT Center of Contemporary Art, China; Sculpture Space, Utica, United States; Badjidala Centre of Contemporary Art, Mali; European Ceramic Work Centre, Den Bosch and W139, Amsterdam, The Netherlands.

Tuesday, August 24, 2010

Program Vision Forum/KSM workshop

Ateljé 2, Kåkenhus, Linköpings universitet, and Verkstad för Konst, Norrköping, September 2-3, 2010

Hello Everybody,

We are looking forward to hosting you all at this two day seminar and offering everyone this opportunity to meet and to exchange ideas and experience.

Thursday September 2
10.00 Arrival and presentation of KSM and Vision Forum - Mattias Åkesson, Anna Berglind and Per Hüttner.
11.00 Anne Klontz – Simultaneity a project at RKIS in Stockholm and Platform China in Beijing with artists from Romania, China and Holland. (

12-13 Lunch.

13.00 The MA students make their 5 minute presentations.
13.30 Yulia Usova and Viktor Sobiianskyi presents The Invisible Generation, a performative project in public the public space in Kiev. (
14.30 Francesca Grossi and Vera Magnioli – Performance Season, the world’s first (?) online performance project. (
15.30 Laura Guy – Project After S – buried duck eggs art and architecture between Shenzhen and London. (
16.30 Good TV – This Image Is No More – non object based exhibition about memories in Beijing. (

17.30-19.00 Break

19.00 – Dinner at Verkstad för konst. (
20.00 – Open bar Verkstad för konst with videos and performaces. (Invite your friends to join!!!)

Friday September 3
9.30 Louise Nilson and Lisa Boström – Travels, two publications about travel in the contemporary art world. (
10.30 Fatos Ustek – London Houses, from museum to retreat in 6 months. (

12.-13 Lunch.

13.00 The Vision Forum students make their 5 minute presentations.

13.30 Geoffrey Lowe – A Constructed World and Speech and What Archive two ongoing projects investigating the nature of communication and audience. (
14.30 Claire Louise Staunton – Inheritance Shenzhen and New Cities Project
15.30 Summery and reflections - Mattias Åkesson, Anna Berglind and Per Hüttner.


Tuesday, August 3, 2010

Introduction to the Vision Forum nodes 2010-11

Project 1 - Oounpo

Oounpo is the development of If you don’t want god you’d better have a multiverse, an itinerant project which explores the concepts of time, space and the role of subjectivity. The project intends to address art as place where these concepts can be translated into form and become the location for interplay between artists, curators, academics and the public.

Ouunpo is a play upon Oulipo: Ouvroir de littérature potentielle (“workshop of potential literature"), a loose gathering of (mainly) French-speaking writers and mathematicians which seeks to create works using constrained writing techniques. It was founded in 1960 by Raymond Queneau and François Le Lionnais, while other notable members include novelists Georges Perec, Italo Calvino and Hervé Le Tellier, poet Oskar Pastior and poet/mathematician Jacques Roubaud. The group defines the term 'littérature potentielle' as: "the seeking of new structures and patterns which may be used by writers in any way they enjoy."
Constraints are used as a means of triggering ideas and inspiration. As well as established techniques, such as lipograms and palindromes, the group devises new techniques, often based on mathematical problems such as the Knight's Tour of the chess-board and permutations. Oounpo works in the same way, though its primary concern is visual art.

For more info about the project:

Project 2: Speech and What Archive

Speech and What Archive is also a continuation of a Vision Forum project from 2009-10 lead by the artist duo A Constructed World. This year it will function as a moving conversation between participants in different places seeking new ways to represent fragmentation. Rather than identifying with the unified, constituted subject this course seeks to find shared relations through construction and fragmentation. ACW now have productive group of students and researchers and it would be very purposeful to continue with them.
Conversations — in small groups, altogether in workshop meetings, one-on-one, by Skype, by phone, in person — are the media used by participants to make an account of, and represent, ways we may be linked together in a fragmented world. The course will bring together students and collaborators from places including Paris, Angers, Sweden, Barcelona, Jakarta, Melbourne, San Francisco and New York.
Students will decide appropriate ways to represent their participation making art works using video, text, image, performance or any other appropriate media. Outcomes can include events, exhibition, publications and opportunities for collaboration with students from other schools that ACW are attached to as professors and associates. (ACW are currently working with students from Ecole nationale supérieure d’art Nice and are professors at Ecole supérieure des beaux-arts d’Angers.)

For more info about the project:

Project 3: The New Cities Project

In the past year, as a Vision Forum node, myself and my team members initiated a temporary project in the 'new town' of Shenzhen, South China. Inheritance - Shenzhen, is a project space that acts as an experimental hub with the aim of investigating and dealing with the art history of such a young city, to promote and commission new work and to provide a local space for art happenings. We worked in partnership with the British Council, Asia Art Archive, Arthub Asia, PRSFoundation and the Contemporary Art Terminal/He Xiangning Museum and the Shenzhen/Hong Kong Biennial.

The project in Shenzhen is merely the first in a long-term project that I hope to initiate that networks 'New Towns' around the world (both in real life and online) We have identified:
Shenzhen (CN)
Chandigarh (India - an entire city designed by Le Corbusier),
Brasilia (BR)
Milton Keynes (UK)

The New Cities project is entirely experimental - determined by its indeterminacy. There are some places, there are some artists and there are some preconceptions. There surely must be some commonalities? There is certainly a sense of strangeness in each of these places that necessarily comes without an indigenous population. The officials and planners of these cities are forever attempting to make up for something that is missing - but they will never be able to since what is missing is a past. They are attempting some sort of time travel. Which in a sense, is what I hope the project will be. A journey through time and space, with the medium of art as some sort of vessel or even a channel/pathway. There is also a sense of freedom that comes with a city that has no recognisable geographically fixed tradition or peoples and within this I would like to develop the most experimental in-between (infrathin!) context for communication and art making.

For more info:

Project 4: What Cannot be Said

Collaboration between Fei Art Center and Vision Forum

What Cannot Be Said brings together 4 young artists and curators to create a series of interviews that discuss the limits of what can be expressed – in words, in art or in science. It develops themes that are at the core of Vision Forum’s activities such as:

What are the boundaries of human knowledge? What role should art play? How can art be more visionary and give more to its audience? The project also addresses issues as, how do you deal with experiences and phenomena that cannot be expressed or explained.

What Cannot Be Said addresses questions related to censorship, what is the difference between an inner censorship and an exteriorly imposed silence? How can knowledge be safeguarded and passed on without becoming instruments of oppression?

What Cannot Be Said is firmly grounded in the culture of visual art and also approach the boundaries of what art can address, express and how it functions differently from other genres and sciences.

In keeping with the Vision Forum spirit the participants are invited to question academic forms of writing and also invite non-art professionals to be interviewed to ensure an interdisciplinary approach and to safeguard that the dialogue does not become to introverted, but deals with real issues in life.

Wang Dan
Angelo Romano
Liu Xinyi
Susanne Ewerlöf

The project will be published on the Vision Forum and FCAC websites in parallel in English and Chinese.

For more info about the project:

Project 5: Vision Forum – London

The set of activities:
- Meeting at a pub for a table soccer tournament, Shoreditch, East London.
- Visiting Houses of people who have produced meta-statements in the course of their lives. i.e. Freud, John Soane, John Latham, Swedenborg, John Hunter, T.S.Eliott...
- Visiting Julian Barbour in his residency at Oxfordshire and have an afternoon of talking on the condition of time as a construct.
- Going for a 10 day meditation retreat to North England

The structure:
The group will be visiting 9 selected houses in the course of 3 months. During the visits, the housekeepers, directors, curators will be asked to introduce us the imagined territories those people have mapped. Let this be the introduction to Freudian acknowledgement of subconscious or the flat time theory of John Latham...
These introductions will be followed by the inner group dialogue while residing in the premises for the course of three hours.
After the visits, the group will travel together to northern England to attend a 10-day meditation. Hence the space of encounter will shift from social to the personal.

For more info about the project:

Project 6: L'entremet de Panama

2011, Panama City.

Jochen Dehn, Mark Geffriaud, Ulrich Gall, Per Hüttner, Ben Kinmont, Géraldine Longueville, Charles Mazé, Raimundas Malasauskas, Jon Phillips, Pratchaya Phinthong, Natasha Rosling, Coline Sunier, Fabien Vallos, Olav Westphalen.

Receptary : writing of cookery
The writing of a recipe probably comes from a culinary experience whose result seemed satisfying enough to keep and compile its elaboration. It recounts the different steps of the making of a dish to guaranty the success of its repetition : anticipation of the ingredients to purchase, direct use of the materials, planning of the result. A recipe is like a game book describing how a practical experience is carried out by suggesting a few narrative ingredients. Its writing was developed by medieval chefs (middle of the 14th century). The main purpose of these treatise was to point out the culinary talents of these masters, bringing their renown to the kings that would then hire their service1. But right before that in fact, the first recipe books, called receptaries, were written by several hands, margins commonly used to complete or precise one step or to add an ingredient. One of the first known receptary, the Viandier de Guillaume Tirel dit Taillevent, is more of a collective compilation of recipes (written between 1373 and 1381) than the work of a single author. The notion of authorship not being primordial at that time, a text would frequently bear the marks of several contributions. In the different manuscripted and printed versions of the Viandier, entire chapters are erased, added and modified. Besides recipes, receptaries would also compile medical cures, descriptions of historical feasts and preparations of entremets. A recipe is a narrative and practical genre in itself, a mix of culinary ingredients, allegorical representations and political propaganda. L'entremet The entremet is an entertainment combining luxury dishes, disguised food and plays, animated or not, served and performed between the courses of fastuous banquet. The interlude brook the highly codified ceremonial of the banquet composed as a representation of power. Without having to leave, the guests would thus take a break and give free will to their comments and activities. The entremet attests to the taste for ornamentation and architecture, notably expressed by the erection of monumental patés and by the arrangement of feathers on the roasted game. The entremet evolved towards artistic representation as described in the last chapter of the Viandier. The entremet of painted and carved images was not so much about edible food than representation of allegorical scenes through paintings, sculptures and live performances, all of which first took place on the table before being progressively removed on specifically designed stages. There were real shows with scenarios, actors and dramatic action. Added to the luxurious ornamentation of the table set, the entremet was a pretext for a monumental, allegorical and fantasmagorical imagery.

An example of an entremet, writing by the chief Chiquart in his book Du fait de cuisine in 1420. He describes a famous banquet organized by Amédée VIII. The text is written in an old french. It describes enormous meals made for example with head wild boar or pork, roasted, painted in green, gold and yellow glaze, spitting out fire. Some towers carried by children angel dressed, where rose water and wine flow across machicolation. Fruits, birds, roasted chicken, big fish cooked into three ways : the head is boiled, the queue is roasted, the middle is fried, and for each part a new sauce : green, orange etc...

For more info about the project:

Project 7: SPACING ONE’S THOUGHTS (provisional title)

Galerie Akinci, Amsterdam – 12-23 November 2010 (tbc)

Spacing one’s thoughts is a series of events organised as part of a collaboration between Yael Davids and Vanessa Desclaux. The point of departure for this project is common interest in questions of the articulation of language, speech and voice in the production of subjectivity and political agency.

The project is grounded in two projects: Learning to Imitate, an ongoing performance project by Yael Davids, and A Stuttering Exhibition, an exhibition in the form of a lecture by Vanessa Desclaux. This new series of events will take place over a period of 10 days at Galerie Akinci and will present these two projects alongside others by artists, writers, theorists and curators invited by Davids and Desclaux. Guest participants will be asked to reconfigure the space of the gallery for the specific purpose of their presentations.

For more info about the project:


We are intrigued with the Olympic swimming pool on top of Tapa Bibi Mahroo in Kabul. The amenity was built by the occupying Soviet forces in the 1980s, who were probably posted on the hill to watch out for Afghan mujahedin. It has never been officially used as a pool, because there was no way that even the Soviets could get water to travel uphill at such a steep angle. In the mid- 1990s the Taliban pushed blindfolded criminal offenders from the highest springboard to test whether they would survive, if not they were sometimes still not freed but shot. Today kids play in the cement construction, men bet on their fighting hens or dogs in it, and every now and then after heavy rain fall one can cool off in it. This site of shabby majesty has never seen much water or collective happiness. We would like to change that by organizing an international pool party. The project aims at putting a group of local and foreign artists, Kabul children, students and other representatives from the city together to clean and paint the pool and find a way to fill it with water.

Vision Forum and KSM workshop september 2-3

Vision Forum and KSM are co-organizing a 2 day seminar september 2 and 3.

A dozen interesting artists and curators (from all over europe, australia and the us) who have realized projects for Vision Forum in 2009-10 will present this work, their respective practice and their outlook on life and art. Verkstad för konst will also organize a bar and social events on september 2. It will be a wonderful opportunity for each of you to be stimulated by their inspiring and creative work and also to meet and talk to them in person.

Speakers include:

Geoffrey Lowe, A Constructed World, Paris
Fatos Ustek, Nowiswere, London and Istanbul
Claire Louise Staunton, Inheritence, London

You can find more info about what they do on:


more details about the events will appear here in late August.

Wednesday, June 2, 2010

Routine for reimbursements of your costs and handling of receipts

The routine for reimbursements of your costs and handling of receipts works as follows. Your expenditures will be reimbursed as soon you have used up your entire budget (one payment per term) and you have sent the original receipts plus one photocopy of each sheet to Per:

Per Hüttner
143 Boulevard de Magenta
75010 Paris

1. Tape up all the receipts on A4-sheets – see example here: receipts.jpg

2. Make two photocopies of the sheet(s). (Keep one for your own reference and send one to Per)

3. Make an excel-file where you sum up all your costs and convert to Swedish kronor. You can make conversions on . Make sure that the numbers of the receipts correspond to your list.

You find a template that you can use here: example.xls

4. Include a paper which has the following information:

Your Name and Address,
Your Bank's BIC address
Your Bank account's IBAN number

5.Name of the course that you are taking:

Tvärmedial gestaltning och samtidskonst 739G01,
Utställningen som medium 739G08,
Tvärmedial gestaltning och samtidskonst, avancerad 739A22,
Utställningen som medium, avancerad 7739A23,
KG MASTER-projekt (Swedish master) 739A25,
INT. MASTER 2009 – 739A35

6. e-mail your BIC and IBAN to:

Please note:

- that you will be reimbursed for costs related to travel (tickets, accommodation etc) and material costs. If you buy inventory (e.g. computer hardware, camera equipment etc.) this will belong to LiU and will have to be returned when you finish the course.
- that costs for food, web-hotels and domain names will only in special cases be reimbursed.
- that if you do not follow the above, your documents will be returned to you.

Tuesday, March 30, 2010

Book launch: Italian Conversations - Art in the age of Berlusconi

Book launch: Tuesday 27 March 2012 h 6,30 pm

MAXXI B.A.S.E. - Via Guido Reni, 4/A - Rome

A project by Fucking Good Art

Commissioned by Nomas Foundation

Published by NERO, Rome, and post editions, Rotterdam

Supported by Fonds BKVB (The Netherlands Foundation for Visual Arts, Design and Architecture), Mondriaan Foundation, Embassy of the Kingdom of the Netherlands in Rome, and Parc Saint Leger – Centre d'Art Contemporain in France. 

In collaboration with Careof and O', Milan; Nosadella.due, Bologna; Progetto Diogene, Turin; Archiviazioni, Lecce; Fondazione Morra Greco, Naples; Francesco Pantaleone Arte Contemporanea, Palermo.

Italian Conversations – Art in the age of Berlusconi contains 26 conversations with artists, curators, critics and gallerists who play an active role in the Italian contemporary art world, 7 artists’ contributions and 9 texts, as well as a list of independent non-profit private initiatives by artists, curators, collectors and others, compiled in collaboration with partners from the seven different territories involved in this book project.

Guest relator: Vincenzo Latronico (writer and art critic)
Introduction: Cecilia Canziani and Ilaria Gianni (Directors Nomas Foundation), and Klaus de Rijk (Counsellor for Cultural Affairs at the Embassy of the Kingdom of the Netherlands in Rome).

The presentation is in collaboration with Maxxi.