NormalcycoverNORMALCY 14-27 APRIL 2014

Welcome to the Normalcy Project, a cluster of related academic courses, art events and public presentations organized by Kungl. Konsthögskolan | Royal Institute of Art in Stockholm between September 2013 and April 2014. The series of events including performances, lectures, workshops and exhibitions engages students and teaching staff in both the areas of fine art and architecture as well as being open to the public.

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Table of contents

Introduction: DDD

List of events

Accessibility / Tillgänglighet

For more information


CombIntroduction: DDD

The early 19th -century term "norm" implies an ethical model to be followed, a precept. It can also refer to a versatile tool used to measure and fix space. Yet on the other side of the norm, behind, beyond and beside normalcy (literally the "state of being normal"), there is something alternative and defiant, which disrupts and perhaps even beckons. Normalcy as a state is designed at every scale and surface: key, chair, software, urban planning, institution and an art school such as the Royal Institute of Art in Stockholm.

Contemporary art: what is the norm? What is the rule? What is the scale and what is at stake? Some would answer that the main regulator might be the market. In some places on the planet, like Stockholm, the field of artistic research appears as a clear alternative fount of resources for artists to develop their work and eventually to make a living out of it. If the traditional market implies trading objects, how and where do you trade research in art? Higher education institutions are the perfect playgrounds to invest in. The University is in crisis: what about the creative class? Understanding the Academy, not as a place of knowledge transfer, but as a place of knowledge production in the spirit of ancient Greece. Spaghetti Bolognese: BA, MA and PhD. You educate, normalise, legitimise, regulate and formalize your students, fellows, alumni and peers to such an extent that their potentials are undermined and remain in a closed circuit. If this is a matter of fact, where do you build your Trojan horses aka your DDD–difference, debate and dispute?

Let's invite the "cowboys, cops, construction workers, moustaches, muscular bodies, laconic speech, those who buy the right Levi's and t-shirts, wear the right bronzer, attend the right disco, sport the right haircut" as well as the "Bakassi People, trans women, queers, fags, Ainu people, dykes, the underprivileged, the muff divers, Inuits, refugees, the shabby chic, bulldaggers, the leisure class, queens, men, Aymaras, drama queens, Kabylians, cosmopolitans, bois, FtoMs, MtoFs, the middle class to working class, the working class to underclass, East Indians, old maids, wiggers, clandestinos, other genders, Palestinians, the undocumented, Afro-Latinos, nouveaux pauvres and global workers" to join Normalcy for a precise time, from April 14th to 27th: a series of events, lectures, workshops and encounters creatively mounted in an experimental programme by an art teaching faculty.

Normalcy as such will be addressed on the first day of our programme thanks to Michel Foucault's oeuvre Abnormal and the presentation of what might be Swedish, 'Svenskhet '. Starting from these running blocks, Queerness, Tsunami Aesthetics, Outside, Educational Complex, Dysfunctional Comedy, Explosion, Whitewashing Piracy and a CryptoParty , constitute different chapters and fields to run through for the sake of DDD. The normalcy promoted by the Royal Institute of Art in Stockholm is situated on the territory of "everything goes", appropriation, subversion, immersion in the unknown and aesthetic pleasure more powerful and convincing than any suffocating political correctness.

"Certain misdemeanors", "indecencies", "immoral relationships", "improper relations", "certain practices", "certain matters", "disgraceful charges", "gross misconduct", "gross immorality", "grave offenses", "terrible offenses", "wicked acts", and "unmentionable acts" were some of the euphemisms used to cover the 1895 Oscar Wilde's trials. Normalcy could be a chance to consider what our current preconceptions are of nature, culture, and the expected and acceptable.

Donatella Bernardi, artist and professor

List of events

If not otherwise noted, events are in English. Download full list of events, schedule etc. here.

Press briefing and introduction

Donatella Bernardi

Monday 14 April 10:00 at Kungl. Konsthögskolan, Mellanrummet

Press briefing and introduction where the program and the project is presented by the Royal Institute of Art's Professor of Fine Art. Open to all.

EriksonAnother order: Religion, subculture and normalcy

Carl Johan Erikson

Lecture in Swedish

Monday 14 April 13:00-14:00 at Kungl. Konsthögskolan, Mellanrummet

"To me, there was nothing strange about the healing of my sister in the early 80s. I was raised in an environment where the possibility of health coming from the hand of God was a realistic one, a parallel healthcare system to the standard institutions."

From the book: Thirteen Healed Bodies 2011, OEI Editör

For many years—since the late 90's—I have worked on a major project, Vakna Upp (Wake Up), that on one level is based on the Swedish revival movement (Pentecostal Church) and it is about belonging, language, sectarianism, normalcy and dealing with my past. Up to 13 percent of the population, mainly in rural areas, had some connection to the Swedish revival movement in the early 40's. The movement was parallel with the labour movement and "folkhemsbygget" (the Swedish Social Democratic programme to build a welfare state) and is one of the country's largest folkrörelser (social movements), now it is severely diminished and steadily declining. The project is based on personal experience—I grew up in a revival church environment in Småland but left the movement when I was 19. In the lecture I will present several works that deal with a norm system parallel to the current one in society, i.e. another order.

Ever since Carl Johan Erikson's degree at the University of Gothenburg, Photography department in 1992, he has pursued an active practice. The main venue for his art has been exhibitions, in Sweden and abroad, he have also produced artists' books. Since 2007 Erikson works as a teacher at Royal Institute of Art in Stockholm.

EyckOn translation (and the Abnormal)

Karl Lydén


Monday 14 April 15:00-16:00 at Kungl. Konsthögskolan, Mellanrummet

On translation concerns the work of the translator, attempting to explicate this task with the help of Walter Benjamin and Jan van Eyck's painting Saint Jerome in His Study. This is followed by an introduction to Michel Foucault's 1975 lectures at Collège de France entitled Abnormal (Les Anormaux). This lecture course concerns the role of abnormality in the judiciary system, which will be connected to something to which Foucault turned in his 1982 lectures, and what one in contemporary terms could call a "pathological normality". This was the philosophic position commonly held during Greek Antiquity, concerning the mental health of society: everyone is ill, and needs to be cured. And the cure, Foucault notes, will come through a certain practice of truth and care of the self.

Karl Lydén is a writer and critic, and member of the editorial board of Site Magazine. He is the Swedish translator of Michel Foucault's Il faut défendre la société (2008) and Le gouvernement de soi et des autres (2014). His writings have appeared in Mousse Magazine, Dagens Nyheter, OEI, and He is an alumni of The Whitney Independent Study Program and The Jan van Eyck Academie.

FoucaultWhat an apparatus is not, On the genealogy of the term 'dispositif' in Foucault's Abnormal

Matteo Pasquinelli


Monday 14 April 17:00-18:00 at Kungl. Konsthögskolan, Mellanrummet

Georges Canguilhem's milestone work The Normal and the Pathological (1943, 1966) was the main inspiration for Foucault's conceptualization of the notions of biopolitics. The power that normalizes society—the power that according to Canguilhem started to distinguish between the normal and the abnormal in the post-Napoleonic French society by the introducing of new medical and social Norms against the domain of the Law—was the theoretical introduction that inspired Foucault's work on the normalization of sexuality. Specifically it is in the course Abnormal (started in January 1975 at the Collège de France) that Foucault introduced "les techniques de normalisation de la sexualité". Accidentally, it is in the same course that Foucault introduces for the first time the term 'dispositif' in relation to such a power of normalization of sexuality. My talk will try to illuminate the history of these words and concepts in Foucault without any desire of a unifying theory, yet looking at the real sources of these genealogies with the help of a philological lens and some anecdotes about Foucault's visit to Sweden.

Matteo Pasquinelli (PhD, London) is a writer, curator and academic researcher. He wrote the book Animal Spirits: A Bestiary of the Commons (2008) and lectures frequently at the intersection of philosophy, media theory and life sciences. His texts have been translated in many languages and he has contributed to journals and newspapers such as Springerin, Multitudes, Fibreculture, Theory Culture & Society, Rethinking Marxism, Libération, Il manifesto, Der Freitag. Together with Wietske Maas he wrote the Manifesto of Urban Cannibalism. At NGBK Berlin he is co-curating and preparing the exhibition The Ultimate Capital is the Sun.

MarwaHow to read?

Marwa Arsanios


Monday 14 April 17:00-18:00 at Kungl. Konsthögskolan, Mellanrummet

During this workshop I would like to experiment with the participants on ways of reading collectively. We will depart from a fiction text/novel and try to find ways through different collective exercises to perform it. How can a reading become performative? What does it mean to read collectively? Can voices collide and become one? By looking at examples of artists who have worked with fiction texts/ reading and used them in their own way, we will also pose the question; how can we intervene into existing texts appropriating their syntax and language? The aim of this exercise is also to think through certain politics of reading, learning and knowledge production.

Marwa Arsanios, born in 1978, lives and works in Beirut, Lebanon where she founded the artist organization and space research project 98weeks. She has exhibited internationally, and has been nominated for the Pinchuk Future Generation Art Prize 2012 and won the special prize. Her work investigates by personal explorations stories and political matters that have manifested themselves through architecture, printed matter, text and language in general. She works in various formats such as film, installation, performance and reading group.

BossingBossing Images, Subverting normalcy through queer cultural politics

Antke Engel


Tuesday 15 April 17:00-18:00 at Kungl. Konsthögskolan, Mellanrummet

In collaboration with Konstfack

In this talk I will present Bossing Images. The Power of Images, Queer Art, and Politics, an ongoing series of curated evenings that started in 2012 at the NGbK Berlin. Bossing Images inspires me to reflect upon artistic practices and queer cultural politics that intervene in regimes of normalcy. The series draws on Elspeth Probyn's thesis that desire travels in images, and asks how social power and domination may be secured or subverted through bossy relations with images. Bossing Images has been developed in the context of the Institute for Queer Theory in Berlin, a site where academic debate meets up with political activism and cultural practices. Its aim is to seek forms of acknowledging difference without fixing categories or norms. Yet, does normalcy depend on rigid norms? Does it necessarily go along with processes of exclusion or coercive inclusion? What about normalcy based on flexible and seductive normalizations?

Antke Engel is director of the Institute for Queer Theory in Berlin and works as independent scholar in the fields of queer, feminist and poststructuralist theory, political philosophy, and cultural politics. She received her PhD in Philosophy at Potsdam University in 2001, was research fellow at the Institute for Cultural Inquiry (ICI Berlin) from 2007–2009, and held visiting professorships for Queer Theory at the Universities of Hamburg and of Vienna in 2003/2005 and 2011.

TsunamiTsunami Architecture

Christoph Draeger and Heidrun Holzfeind

Film screening

Wednesday 16 April 14:00-15:00 at Kungl. Konsthögskolan, Mellanrummet

The 2004 Indian Ocean Tsunami was one of the worst natural catastrophes in history. While international attention has faded, post-tsunami challenges continue to have an impact on affected communities. Six years later and just weeks before Fukushima, we looked at what has been achieved, what went wrong and what challenges remain. We were interested in how the flood of aid money has transformed the affected regions, rebuilt and refashioned local economies and shaped communities. How does collective and individual memory work, years after such a highly publicized media mega- event? How has the architecture built after the Tsunami been able to respond to the individual needs of affected communities? How were these communities able to participate in the recovery process? How have these structures been adapted over time by their inhabitants, and how did architectural interventions alter societal and communal structures? Christoph Draeger and Heidrun Holzfeind will discuss the making of their 60-min film Tsunami Architecture, its adaptation for the Maldives Pavillion at the 2013 Venice bienniale, their Tsunami Architecture exhibitions at OK centre in Linz and Centre d'art contemporain in Yverdon, the 280-page book, and their practice of project-based collaboration in general.

Christoph Draeger is a conceptual artist who has been working for over 20 years on themes of disaster and destruction in relation to media-saturated culture. His projects take the format of installation, video, and photo-based media. Solo exhibitions include: OK Centrum Linz, Kunstmuseum Solothurn, Kunsthaus Zurich, Centre of Contemporary Art Warsaw.

Heidrun Holzfeind is interested in how architecture interacts with people's everyday life. She questions immanent architectural and social utopias of modernist residential buildings, exploring the borders between history and identity, individual histories and political narratives of the present.

RamadanMaldives To Be or Not

Khaled Ramadan

Film screening

Wednesday 16 April 15:30-16:30 at Kungl. Konsthögskolan, Mellanrummet

Khaled Ramadan releases his documentary film Maldives To Be or Not. Captured during his trip in March 2013, Ramadan notes the parodies captured between Western culture and its long tradition of romanticizing the imagery of the East. The Maldives today is wavering between the fiction of the West and the reality of the East, and the islanders are at the conjunction of Edward Saïd's theoretical duality "West is Culture, East is Nature". In 2007 Maldives became the first country to open an Embassy in Second Life, the online virtual world adding more confusion to the country's fictional reality. Ramadan's journey to the Maldives is about the East coming into its own. He meets the Maldivian community, the Dhivehi people, which means "the islanders", not as an anthropologist, colonialist or journalist, but as a citizen of the Arab world who wants to learn about what's left of the shared history and how this amphibious nation is treating its contemporary culture in relation to its ecological strengths and weaknesses.

Khaled Ramadan, aesthetician and filmmaker, works between Europe and the Arab world. His fields of specialties include the intersections of the history of constructed media, the fusion of alternative art with aesthetic journalism and media research.

DjamilahHave you ever killed a bear or becoming Jamila

Marwa Arsanios


Wednesday 16 April 18:30-19:30 at Tensta Konsthall

Have you ever killed a bear or becoming Jamila is a lecture performance that uses the history of a magazine (Cairo's Al-Hilal 50s and 60s collection) as the starting point for an inquiry into Jamila Bouhired, the Algerian freedom fighter. From the different representations of Jamila in Cinema, into her assimilation and promotion through the magazine, the lecture performance attempts to look at the history of socialist projects (Egypt), anti-colonial wars (Algeria), and the way they have promoted and marginalized feminist projects. The clear gender division used to marginalize women from the public sphere was overcome for a short moment during the Algerian war of independence (Jamila becoming its icon).

Marwa Arsanios, born in 1978, lives and works in Beirut, Lebanon where she founded the artist organization and space research project 98weeks. She has exhibited internationally, and has been nominated for the Pinchuk Future Generation Art Prize 2012 and won the special prize. Her work investigates by personal explorations stories and political matters that have manifested themselves through architecture, printed matter, text and language in general. She works in various formats such as film, installation, performance and reading group.

DeniseTsunami Aesthetics

Christophe Bram, Denise Scott Brown, Jochen Becker, Christoph Draeger, Heidrun Holzfeind, Hanna Husberg, Khaled Ramadan


Thursday 17 April 09:00-16:00 at Kungl. Konsthögskolan, Hus 28

From Kitwe to Las Vegas

Jochen Becker, Denise Scott Brown

On the "African Perspective" of the architect Denise Scott Brown, co-author of Learning from Las Vegas. She was born in Northern Rhodesia and grew up in a baltic-jewish family in Johannesburg. Together with American architect Robert Venturi, she discovered a new perspective on Las Vegas, and is now editing a book on her photographs. A live Skype-conversation with Denise Scott Brown is planned.

Jochen Becker is the recently appointed senior lecturer and responsible for the course Art & Architecture at the Royal Institute of Art. With a background in the arts as well as urban studies, he also works as an author, lecturer and curator.

BramHorizon 2050, Evolving our civilization

Christophe Bram

A better civilization won't happen without a radical change of culture. Sustainability, in its broad sense, brings forward a new paradigm to make the world a better place for the 99 %. And growing our own food is the first step. At the same time, art has an immense subversive potential towards a change of culture, and yet the majority is still entrenched in the old paradigm. Mesoamerica Resiste is all about a new paradigm though.

Christophe Bram is a French software developer by trade, now living in Stockholm, Christophe Bram developed a strong interest in Western culture and politics following the 2008 crisis. This lead him to take part in Occupy Stockholm in 2011 and more recently participating in the events organized by the Scandinavian Burning Man community.

Contingent Movements Archive

Hanna Husberg, Laura McLean

The disappearance of the Maldives beneath the sea is a speculative hypothesis, though a likely and compelling one. Today there is an emphasis on mitigation and adaptation, rather than prevention, in national and international law and policy relating to climate change. The archival project speculates on the contingent circumstances Maldivians may face as a permanently displaced population, and seeks to explore the potential humanitarian and cultural consequences of this scenario within a global context.

Hanna Husberg, artist, based in Stockholm, graduated from ENSBA, Paris and currently a PhD in Practice candidate at the arts academy of Vienna, and Laura McLean, artist/curator, based in London, graduated from Sydney College of Arts and Goldsmiths College, employ artistic and curatorial practices to enquire into the ontological and geo-political repercussions of the Anthropocene era.


Kristina Buch, Maya Deren, Juan Downey, Camille Henrot, Carsten Höller, Kapwani Kiwanga, Joachim Koester, Cristóbal Lehyt, Egill Sæbjörnsson, artists

Curated by Stefanie Hessler

Exhibition opening Thursday 17 April 17:00-20:00 at Index, Kungsbro strand 17-19

Exhibition time Friday 18 April-Saturday 3 May

Film screening Tuesday 22 April 15:30-18:00 at Moderna Museet, The Cinema

In collaboration with Index, Goethe Institut and Institut Français

Modernity since the 19th century, as we refer to it, was a decisive time for normalisation in that it established dichotomic divisions between culture and nature, subject and object, rational and irrational, normal and abnormal. It was during this period that terms such as schizophrenia were coined to denominate those who could not be clearly classified on either side of the demarcations. Hybridity was hence considered as running contrary to the distinctions that we have come to accept as normal.

The exhibition approaches the theme of normalcy by looking at ways of destabilising these divides. One facet of getting outside of our usual logic and into a different one, and as a possible dehors of the normal, is the realm of the subconscious, rituals and trance.

Stefanie Hessler is a curator from Germany, currently based in Stockholm. She is interested in systems of representation and social conventions, and her work can turn to language, economics and cybernetics or to simply asking the question what is normal and why we have come to accept that.

EducationalMike Kelley: Looking back at Educational Complex Onwards

Anne Pontégnie with Magnus af Petersens

Talk, Tuesday 22 April 18:00-19:00 at Moderna Museet, The Cinema

Workshop, Wednesday 23 April 9:00-12:00 at Kungl. Konsthögskolan, Mellanrummet

In collaboration with Moderna Museet

"A lot of things aren't what they seem, are they? Take the painting's aura of completion, for instance. Let's call this sense of completion the painting's normalcy. What if this normalcy is only a screen memory—a projected image of comfort, based on social stereotypes, used to mask an unbearable true event that cannot be faced without grave psychic damage? In this scenario the painting's comfort, its sense of naturalness, comes only from repressed indoctrination, covering up subjugation and abuse. Your root, your true self, is a false mirror. Who knows what's really there? It's a moot point now, because nothing's been left behind. You are only compliance." (From Goin' Home, Goin' Home by Mike Kelley 1995)

The talk will focus on the chart drawn by Mike Kelley for the exhibition Educational Complex Onwards (Wiels Brussels/Museion Bolzano 2009), and will use it as a possible interpretation of the artist's last body of work, and latest survey exhibition at PS1.

Anne Pontégnie is an independent curator and art critic. She is Le Consortium (Dijon) co-director at large, and curator of Cranford Collection in London. Between 2005 and 2008, she was Wiels chief curator. In 2003 she co-curated the Lyon Biennial, and the Printemps de Septembre in Toulouse in 2011. She has curated numerous monographies with artists such as Christopher Wool, Douglas Huebler, Kelley Walker, Mark Leckey, Daan Van Golden or Roe Ethridge, and the Mike Kelley retrospective Educational Complex Onwards (Wiels and Museion Bolzano 2009). She writes regularly for catalogues and magazines.


Annette Felleson, Johan Wik, Assa Kauppi and Mikael Pauli, in the presence of Roman Signer

Normalcy strives for balance, stasis, predictability. Explosions on the other hand represent the anomalous, the instantaneous disruption of normalcy. Explosions are physical events as well as aesthetic spectacles. As spectacles, they are frequently employed or referenced in art, film and literature etc. for their sheer aesthetic impact and their symbolic potential. As actual events, they have the power to shape history, politics, landscapes etc. This theme will look at both, the physical qualities and real effects of explosions as well at their metaphorical and symbolic potential through a series of workshops and events open for students, culminating with a blast led by artist Assa Kauppi.


Johan Wik


Wednesday 23 April 14:00-15:00 at Kungl. Konsthögskolan, Hus 28

Johan Wik's spectacular video work is inspired by commercials as well as Hollywood movies. They are often an expression of restrained aggressions and use violence as a release for anger and frustration over the enforced, the glitzy, the moralising and the mendacious that keeps all societies together. The lecture is about how Johan Wik makes video art from inspirations and ideas to finished film. An intense supernova of fun and violence!

Johan Wik (1975), educated at the Royal Academy of Art in Stockholm. Johan Wik's film art is inspired by both TV commercials and Hollywood. In his videos Wik often expresses powerful pent-up aggressions and uses violence as a redemptive valve for anger and frustration over the moral, the polished and the mendacious that hold societies together.

The Short circuit wall drawings

Mats Bigert


Wednesday 23 April 15:00-16:00 at Kungl. Konsthögskolan, Hus 28

Mats Bigert is one half of the artist duo Bigert & Bergström, based in Stockholm, Sweden. Throughout their career, B&B have produced and created art ranging from large-scale installations to public works, sculptures, and film projects. Their work often has a conceptual edge, but the core lies at the junction between humanity, nature, and technology. For the workshop Explosion Mats Bigert will give a lecture presenting the line of burning fuse drawings that B&B have created since 1989.

DistributionLet's Deviate: All the way to infinity

O. Emiddio Vasquez Hadjilyra


Thursday 24 April 9:00-13:00 at Kungl. Konsthögskolan, Mellanrummet

Statistics, as man's efforts to quantify the future, has a normalized history of its own. In particular, normal distribution— originally a useful discovery to categorize observations of "heavenly bodies" in our universe— became also a tool to normalize individuals in society. I would like to consider this probability distribution philosophically and illustrate how its development fabricated the so-called "average men" and "rational players", constrained to narrow probability spaces and deprived of our true potential to radically change the future. Thus, as the powers of control increase, so does the imperative to deviate from prefigured norms. As the infinitely bounded distribution itself dictates, we can deviate so: all the way to infinity.

Born in the Dominican Republic in 1986, raised in Cyprus, Emiddio Vasquez divides his time between philosophy, mathematics, sound and visual art. He is preoccupied with the problematics of continuity and discontinuity, their manifestation in culture and their actualization in politics. He occasionally addresses these questions through sound and images. He is currently based in London where he works as a tutor.

WisdomDysfunctional Comedy

Sally O'Reilly, artist, Roee Rosen, artist, Aron Flam, comedian, Rattelschneck/, Benjamin Schiffner,, cartoonist and writer, Joanna Rytel, artist, Lívia Páldi, curator, Olav Westphalen, artist, and others

Dysfunctional Comedy is co-organized by Lívia Páldi, curator at Baltic Art Center, Gotland, and Olav Westphalen, artist and professor at the Royal Institute of Art.

Variety Show

Thursday 24 April 19:00-21:30 at Weld, Norrtullsgatan 7

Is a program of screenings, performances and conversations that bring together artists, comedians and thinkers who are interested in comedic methods, without primarily aiming for entertainment. We're interested in bad jokes, jokes in the wrong place or at the wrong time. Jokes that are way too much or much too little. Jokes which—because we don't find them funny—may require us to think about meaning and reality in more interesting ways. Dysfunctional Comedy will feel like a variety show or like a festive night at the cabaret or perhaps, actually, more like being stuck at your least favorite aunt and uncle's on a Sunday afternoon, drinking too much hot chocolate, eating too many stale cookies just to avoid having to say anything while looking at hundreds of vacation photos on their new iPad. (The iPad has an embossed vinyl faux Louis Vuitton case).

ClownClown Project

Juanma González, with Liz K. Peñuela, Filippa Wikner, Nicolas Lillo, Gabriella Forzelius, Camilla Carlsen and others

Lunchtime interventions at Kungl. Konsthögskolan

A clown is a special character. We laugh with his/ her jokes but we are looking at ourselves in a mirror. We laugh at ourselves. A clown shows us our sad and pathetic life. Important and essential issues are converted to jokes. And on the other hand, a clown is a revolutionary and anarchistic character. Doesn´t bend to authority and fights with humour against it. Doesn´t like normal life. A clown always asks: "Why?" In this project, we want to join these characteristics to break the routine in the art school. We want to experiment with 'normal' art forms and other ways of expression. Per Sörberg, clown teacher at Stockholm Academy of Dramatic Arts, and his students will collaborate in this project to help us to create and to understand the clown character, their point of view about the 'normalcy' and teach us their 'acting' and 'performance' methods. Clowning around is another way of making art, another way of understanding life.

We are an international artist and student group. We are interested in investigating what happens when art is viewed by a clown, and to understand other ways to make art.

Juanma González. Studied media at Universidad Europea de Madrid (1999). Started to study Fine Arts in Universidad Complutense de Madrid (2008). Currenly studying at the Royal Institute of Art.

MMM&M: Normalcy Bar

Friday 25 April 17:00-Late

Everything goes at the Normalcy Bar! We welcome you to take part in the Normalcy club night at Moderna Museet with normal music, normal interventions and normal interruptions of the symbolic order. E xpect the unexpected at Normalcy Bar: a friendly take-over of the sea, the skies and the electromagnetic spectrum, ending with a M good bye, a M thank you, a M welcome and a M good luck!

Performances and interventions by, among others: Klas Eriksson, Cecilie Hundevad Meng and Fredrik Fermelin, Mare Liberum (Jens Evaldsson, Lisa Gideonsson, Marja Knape and Gustaf Londré), Joanna Nordin, Isabel Löfgren and Per Hüttner, Weld.

I, I, I (Aj, Aj, Aj) by Weld: "I, I, I or pronounced in Swedish Aj, Aj, Aj is a durational, participatory, trance, speculative sound installation for many voices. In the age of self-fulfillment, me myself and I, the hunt for subjectivity. In the wish for a larger understanding. In the letting go of oneself for the collective mind. In the schizophrenia of these simultaneously unrestful minds."

Radio Ö —An Archipelago Odyssey on the Airwaves - curated by Isabel Löfgren & Per Hüttner. We will build a pirate radio station on the pontoons of Mare Liberum (see below) and send live to Moderna Bar on frequency to be announced. Ideation and apparatus by Mats Hjelm, featuring Ö88, a radio play by Samon Takahashi.

The radio play Ö88 is based on a lost transmission from 1973, captured during an expedition to a lost island in the Stockholm archipelago, featuring broadcasts from Radio Nord Radio 88 as well as sound artworks. Special appearance by Jean-Louis Huhta and the Ö project team.

Mare Liberum: To establish laws when it comes to water seem to be a difficult task. Maybe it's because of the diffuse nature of the material, or maybe it's because of all the diverse activities happening there. The waters around Stockholm are not heavily controlled, but are instead heavily occupied by ferries, tourism, and other commercial activities, which limits its accessibility. Mare Liberum consists of moveable pontoons that can be used, connected, and adapted to all situations on the water or shoreline. It is a platform for alternative activities that intends to challenge established ways of using the water. By Lisa Gideonsson, Gustaf Londré (GIDEONSSON/ LONDRÉ), Marja Knape and Jens Evaldsson.

PiracyWhitewashing Piracy

Martin Fredriksson, Palle Torsson, Donatella Bernardi, Sonja Schillings, Leif Dahlberg, Rasmus Fleischer, Samira Ariadad, Kuba Szreder, James Arvanitakis, Marysia Lewandowska, Geraldine Juárez, Magnus Eriksson, Boris Magrini, Sara Wolfert

Experimental conference

Saturday 26 April 10:00-18:00 at Kungl. Konsthögskolan, Hus 28

Whitewashing Piracy is organized in collaboration with Linköpings University and with the support of Polska Institutet: Stockholm.

While legislators and policymakers simply outlaw piracy as theft, others see it as a form of resistance that aims to develop a critical agency within the confines of normalized societies. Are pirates actually entrepreneurs in the same way as artists? The experimental conference Whitewashing Piracy in the State of Normalcy is a full-day event with talks on piracy, biopiracy, piracy as friendship, its relation to capitalism, the undoing of property and hacking as art.

"Property shapes all social relations. Its invisible lines force separations and create power relations felt through the unequal distribution of what is otherwise collectively produced value. Over the last few years the precise question of what should be privately owned and publicly shared in society has animated intense political struggles and social movements around the world." (Marysia Lewandowska and Laurel Ptak, Undoing Property?)

"Considered in its broad definition referring to the inventive use of electronic equipment, hacking is intrinsically related to the contemporary artistic production. In the field of media and digital art, more specifically, hacking strategies have been creatively used to tackle cultural, economic and societal questions. In some cases, artists have ventured in more greyish activities associated with hacking to create provocative works, such as bypassing or disrupting third-party systems." (Boris Magrini, Hacking strategies in media art)

"In the beginning of May, Furtherfield Gallery in London will open the exhibition The Piracy of Friendship documenting and reflecting on the history of the Piratbyrån group and featuring works of among others Evan Roth, PolyMarch, James Cauty and Geraldine Juárez. The central theme is the friendship relations that emerge with piracy and the exchange of media and information in closely-knit groups and how this can form the basis of artistic practices." (Geraldine Juárez and Magnus Eriksson, Piracy as Friendship — Exposition of an Exhibition)

"Since its ascendancy in the 1980s, neoliberal policy has rarely been challenged in the mainstream. Even following the Global Financial Crisis, the neoliberalism paradigm is reasserting itself as policy makers find ways to blame the crunch on corrupt individuals or fraudulent practices rather then the broader systemic failures. At the centre of this paradigm is a fiction: the incontestable nature of clearly defined private property rights. In truth, property rights are always disputed as they come with a constellation of obligations as well as entitlements. (James Arvanitakis, Commons, Piracy and the Crisis of Property)

"I will discuss the various notions of property, sharing and commons especially in relation to the debate of piracy and file sharing. As I will argue there are more similarities between capitalists and pirates (criminals) then between pirates (criminals) and file sharers. Both capitalists and criminals are similarly attached to their own properties, even if they differ in the ways of their acquisition." (Kuba Szreder, Property, sharing and commons)

"These three proper names from Blade Runner— John, Leon, Annlee—function as emblems or exergues to a critical discussion of biopiracy and biometrics. I try to show how Locke's definition of personal/ private property, the 'Voight-Kampff'-test and Leon's problematic relation to his mother, and the question of Annlee's identity and ownership can be connected to and shed light on recent developments and applications of biometrics, biopiracy, and the art of law." (Leif Dahlberg, John, Leon, and Annlee: Biopiracy and the Art of Law)

"Rather than assuming an 'evil' non-white sovereign that used white pirates for its own purposes, it was now pre-colonial space itself that was both constructed as the problematic source of white piracy and of 'native' resistance to imperial advancement. The taming, i.e. appropriation, of pre-colonial space was thus legitimated by imperial powers as an intervention on behalf of all humankind, and the threat of maritime piracy constituted a particularly suitable case to demonstrate this point." (Sonja Schillings, How Pre-Colonial Space became the "King of Evil." Colonial Piracy and the Reconfiguration of Race in the Early Eighteenth Century)

Marysia Lewandowska is a London-based artist who through her collaborative projects has explored the public function of media archives, collections and exhibitions in an age characterized by relentless privatisation.

Boris Magrini is currently a PhD student at the University of Zurich with a thesis on computer and generative art.

Geraldine Juárez is a mexican artist based in Gothenburg. Her work tries to understand the effects in our everyday that emerge from the tensions between information, property and financialization. Member of the art collective FATLAB.

Magnus Eriksson is a Gothenburg-based co-founder of the now defunct Piratbyrån. Currently he is undertaking a PhD in Sociology of Law and holding a position as design researcher at The Interactive Institute. Member of the art collective FATLAB.

James Arvanitakis is a professor of Social and Cultural Analysis with the University of Western Sydney and a member of the University of Western Sydney's Institute for Culture and Society, and the Head of the Academy at UWS. His research areas include citizenship, the commons, hope, and piracy.

Kuba Szreder is a graduate of sociology at Jagiellonian University, Krakow. He works as an 'independent' curator, and his interdisciplinary projects combine artistic practices with a critical examination of society. In his theoretical research he critically reflects upon the contemporary apparatus of cultural production and its socio-economic context.

Leif Dahlberg received his PhD in Comparative Literature from Stockholm University. He teaches media and theoretical texts that range from the eighteenth to the twentyfirst century. His current research project investigates the construction and representation of legal spaces in law, literature and political philosophy in works from Greek antiquity to the present.

Sonja Schillings has recently completed her dissertation at the John F. Kennedy Institute for North American Studies of the Freie Universität Berlin, Germany. She is the co-founder of PiracyLab, an international research network on piracy as a cultural practice, and has published articles on topics such as piracy and the notion of race, and the discursive construction of enemy space.


DFRI & Sparvnästet Hackerspace


Sunday 27 April, all day, at Cyklopen, Magelungsvägen 170

CryptoParty is a global grassroots initiative to introduce the basics of practical cryptography to the general public. Participants learn together and from each other what tools are available to safeguard privacy and anonymity and how to use them. In particular we focus on protecting ourselves against state sponsored mass surveillance.

CryptoParty is independently organized by the hackerspace Sparvnästet and DFRI, in collaboration with Cyklopen. Participation in the CryptoParty is open and free to all.

DFRI believes in freedom of speech, personal integrity and the individual's right and responsibility to control the flow of personal information. DFRI works against all forms of limitations of these values.

Sparvnästet Hackerspace builds 3D-printers, fly DIY drones, create robots and write free software. Sparvnästet are passionate about the right to privacy and freedom of expression.

DFRI is a nonprofit organization working for digital rights. Our goal is a society with as little surveillance, tracking and wiretapping, as possible.

Sparvnästet is a hackerspace in Stockholm; a network of nerds, hackers, activists and artists that work and play together with all things technical.

Accessibility / Tillgänglighet

Kungl. Konsthögskolan, Mellanrummet

Mellan rummet is reachable from the main entrance on the front of the building. Use lift to go to bottom floor. The space is accessible with chair. For more information or assistance, call +46704820084 or e-mail  Den här e-postadressen är skyddad från spamrobotar, du måste ha Javascript aktiverat för att visa den

Mellanrummet kan nås från huvudingången. Åk hiss för att nå bottenvåningen. Mellanrummet är tillgängligt med stol. För mer information och assistans, ring +46704820084 eller maila  Den här e-postadressen är skyddad från spamrobotar, du måste ha Javascript aktiverat för att visa den

Kungl. Konsthögskolan, Hus 28

Hus 28 is located on the back of the main building. Accessible via ramp from ground level. For more information or assistance, call +46704820084 or e-mail  Den här e-postadressen är skyddad från spamrobotar, du måste ha Javascript aktiverat för att visa den

Hus 28 ligger på baksidan av huvudbyggnaden och tillgänglig via ramp från marknivå. För mer information och assistans, ring +46704820084 eller maila  Den här e-postadressen är skyddad från spamrobotar, du måste ha Javascript aktiverat för att visa den

Moderna Museet

Tensta Konsthall

Det finns gratis parkering utanför konsthallens entré för färdtjänst, ramp fram till entrén, dörrar med automatisk öppnare, inga hindrande trösklar i konsthallen samt handikappanpassad toalett.



For more information

Please follow The Normalcy Project on Facebook here. Postal address: Box 163 15, SE-103 26 Stockholm, Sweden


Donatella Bernardi, initiator of “Normalcy,” Professor of Fine Art at Kungl. Konsthögskolan / Royal Institute of Art, Den här e-postadressen är skyddad från spamrobotar, du måste ha Javascript aktiverat för att visa den

Anne Joki Jakobsson, Communications Manager at Kungl. Konsthögskolan / Royal Institute of Art, Den här e-postadressen är skyddad från spamrobotar, du måste ha Javascript aktiverat för att visa den