Welcome to an evening with performances, poetry and bar at Konsthall C! During the evening participating artist Armin Lorenz Gerold (Berlin) will perform under his alias wirefoxterrier, and writer Eli Levén (Stockholm) will read from his upcoming book, to be published by Norstedts in August. This event marks the final weekend of this exhibition.

The performance starts 7:30

wirefoxterrier started as an online screen name created by Berlin based artist Armin Lorenz Gerold releasing sentimental song sketches and mixtapes into the tumblr/soundcloud pop ecosystem. His 2018 release ’Sex (play and being played), initially part of his self-released ‚fan-fiction‘ series ‚Radio Prishtina‘ became an almost coincidental feature on the viral TV show SKAM. Examining how virality shapes current writing, sounds and production methods, wirefoxterrier will perform a few songs of his upcoming first extended play Looking (tbr spring 2020) at Konsthall C.
https://soundcloud.com/wirefoxterrier

Eli Levén is a novelist and screenwriter. His debut ”Du är rötterna som sover vid mina fötter och håller jorden på plats” was adapted for film by Eli as “Something Must Break” and directed by Ester Martin Bergsmark. The duo also made the hybrid documentary “She Male Snails” together. In August 2020 Eli’s new novel will be published by Norstedts. An adaptation by the novel, to be directed by Eli, is currently under development.

’The physical world was still there’
The physical world was still there but this exhibition turns its back on it. From a close perspective sound, video, painting and objects share the joy and fear of temporal ecstasy, rush, heat and mental confusion. When someone puts their hands on your body and your blood vessels seem to merge, when the last drink of the sun blurs your mind, when time seems so thick you lose any concept of that which was and will be, when the night is in motion.

Curated by Emily Fahlén and Asrin Haidari (Mint).

Free entry.

In collaboration with ABF.

Welcome to the release of a new issue of Found Review!

The soon-to-be released 7 # Lost Spring 2019 Issue – A Threefold Critique of Tax Deductions Rut and Rot contains a series of reviews devoted to Rut- och Rot-avdragen: the tax deductions that subsidize domestic services (mainly cleaning and reconstruction) for the middle and upper classes of Swedish society. The issue highlights three problematic aspects of the deductions: an increased division of labor, a continuous commodification of everyday life, and a regressive distribution of wealth.

The issue also includes reviews of works by Cady Noland, Cia Rinne, and Bella Batistini (already up for view!)

Tuesday 18 February 18.00-20.00
Mint, Sveavägen 41

18.30 The Maids by Jean Genet: reading of excerpt
18.45 Found Review editor Karl Lydén in conversation
with Lina Rydén Reynols

(Reading and conversation in Swedish)

Found Review 7 # Lost Spring 2019 Issue includes contributions by Nina Canell and Robin Watkins, Johanna Gustafsson-Fürst, Anna Hallberg, Runo Lagomarsino, and Filip Lindberg.

Found Review is a publication for art criticism that uses only found material.

https://foundreview.com/

In this discussion the premises for resistance are investigated through an exploration of current and past movements. In a time where the social gaps are widening and segregation is destroying the city, critical reflections are needed on how current challenges are connected to historical processes, if we are to embark on a democratised future. With Nazem Tahvilzadeh, researcher of urban and regional studies at KTH, Hedvig Wiezell, operations manager at Folkets Husby and design historian Christina Zetterlund.

Hands at work: Scuola Senza Fine, part of the film screening programme at Mint that looks at the body’s place in comporary work. During the evening the film Scuola Senza Fine will be discussed. With Sarah Browne and Jenny Richards. As part of Jenny Richards’ ongoing Phd research project Outsourcing the Body.

The first in a series of study sessions that explore practices that reflect and resist the current expansion of commercialized, individualized and outsourced care.

As part of Jenny Richard’s ongoing Phd research project ‘Outsourcing the Body.’

The session shares some of Fathia Mohidin’s research into the strong body in capitalist society and its relation to the aesthetics, politics and labour of the gym. Centred around collective reading and discussion the session draws out the tensions between today’s responsibilising of care on the individual, and the resistance and strength that can be built through training with the help or hindrance of gym machines.

Fathia Mohidin works in various ways with installation, where she often takes sport and fitness as a point of departure to reflect on the body in relation to societal ideas and categorisations. She is currently exploring the strong body in capitalist society, with a focus on the gym and labour. Most recently her work has been shown in the solo exhibition New Geometries at Galleri Nuda (2018) as a part of the project Shaping Resistance, and in the group exhibitions Ndksdwu7jejjf, Biquini Wax EPS, Mexico City (2018); Laboratory Aperto, Asilo Sant’Elia/Fondazione Ratti, Como (2018) and I’m fine, on my way home now, Mossutställningar (2017). Mohidin is pursuing her MFA in Fine Arts at the Royal Institute of Art in Stockholm.

DATUM: 14 nov + 28 nov + 12 dec + 9 jan + 23 jan + 6 feb

I denna läsecirkeln kommer vi under sex kvällsträffar att fördjupa oss i de två franska tänkarna Monique Wittig och Guy Hocquenghem. Genom deras gräsrotsaktivism och nyskapande teoribildningar utgjorde de båda centrala figurer i de franska, socialistiska och queera rörelserna från 70-talet och framåt i Paris. I båda deras tänkande stod relationen mellan genus, sexualitet, kropp, språk, kapital och patriarkat i centrum inom vilka de på likartade sätt upprättade lesbiska respektive bögar som möjliga revolutionära subjekt. Vi kommer att röra oss mellan lesbisk materialism (såsom presenterad av Wittig) och deleuze-influerad sexualteori (såsom presenterad av Hocquenghem) med utgångspunkt i begärets revolutionära potential och de utmaningar som en queer socialism ställs inför i mötet med nyliberalismens och den psykiatriska diskursens ökade dominans. Hur kan vi använda oss av Wittigs och Hocquenghems arbeten idag i vår politiska praktik och teori? Hur kan vi förstå HBT-rörelsens ”framgångar” de senaste trettio åren i relation till nyliberalismens framgångar? Vilka utgör de nya konfliktlinjer som en queer socialism borde synliggöra? Vilken relation står det queera begäret och revolten i förhållande till varandra? Och vilka möjligheter och begränsningar finns det i att använda (det queera) begäret som politisk horisont för (en queer) socialism?

Studiecirkelledare: Johan Sundell (genusvetare och ljudkonstnär) och Andreas Lindholm (jurist inom mänskliga rättigheter)

ANMÄLAN till info@m-i-n-t.se senast fredag 8 nov
Avgift efter förmåga: 200-400 kr

PRIMÄRLITTERATUR:

Guy Hocquenghem, ”Homosexual Desire” (1993) [1972]
Monique Wittig, ”The Straight Mind: And Other Essays” (1992) [1980-1990]

SEKUNDÄRLITTERATUR:

Bill Marshall, ”Guy Hocquenghem: Theorising the Gay Nation” (1996)
Claire Colebrook, ”Gilles Deleuze: En Introduktion” (2010) [2002]
Namascar Shaktini, ”On Wittig: Theoretical, Political and Literary Essays” (2005)

SCHEMA:

14/11, kl 18-20 Introduktion + Gästföreläsare om Monique Wittig
28/11, kl 18-20 Första tillfället om Monique Wittig
12/12, kl 18-20 Andra tillfället om Monique Wittig
JULUPPEHÅLL
9/1, kl 18-20 Gästföreläsare om Guy Hocquenghem
23/1, kl 18-20 Första tillfället om Guy Hocquenghem
6/2, kl 18-20 Andra tillfället om Guy Hocquenghem + Avslut

A discussion informed by Nadia Hebson’s work into the Italian feminist, activist, historian and art critic Carla Lonzi’s notion of Resonance. At the time of her death in 1982 Carla Lonzi was working on a book in which she was in conversation with a group of fifteenth-century bluestockings. In this text Lonzi foregrounds her notion of Resonance which she described as as a relationship that can be established between two or more women, who do not necessarily live in the same place or period of time, as a way of seeing ones own experience reflected in the experience of someone else. A form of mutual recognition. Lonzi’s thinking offers a starting point for discussion around new forms of engagement which may draw on paying close attention, polyphony, biography, translation, fiction and auto-fiction, and their collective potential to make visible and audible previously obscured thought and experience.

The evening will see how we might think through resonance in relation to some of the voices, positions and concerns brought up through the film screening series so far, and how it might inform our methods for collective discussion.

Nadia Hebson is an artist and Senior Lecturer at Royal Institute of Art in Stockholm. She works across painting, objects, large scale prints, apparel and text through subjective biography most recently exploring the expanded legacies of American painter Christina Ramberg and British painter Winifred Knights, who she conceives as fictional mentors. Her recent exhibitions and commissions include Gravidity & Parity &, Hatton Gallery, Newcastle upon Tyne; one on one: on skills, The Contemporary Art Museum of Estonia, EKKM, Tallin; I See You Man, Gallery Celine, Glasgow; Alpha Adieu, Museum of Contemporary Art Antwerp, M HKA and Choreography, Arcade, London. In 2014 with AND Public she published MODA WK: work in response to the paintings, drawings, correspondence, clothing and interior design of Winifred Knights (an expanded legacy). In 2017 with Hana Leaper she co-convened the conference, Making Womens Art Matter, at the Paul Mellon Centre, London. She is currently working on a new publication which explores the work of Christina Ramberg and her creative female circle.

Many Hands at Work is part of an ongoing series of film screenings and discussions that looks for the body’s place in contemporary labour relations from intersectional feminist positions, organised by Sarah Browne and Jenny Richards

*Please note the event will be held in English but we will try to support other languages in the room.