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Swedish artist Emanuel Almborg discusses his Whitechapel Gallery commission Learning Matter, exploring anti-authoritarian pedagogies, democracy and collaboration. Daskalopoulos Head of Education and Public Programmes Sofia Victorino will present an introduction to the project, followed by a conversation between the artist and writer and lecturer Marina Vishmidt.
Emanuel Almborg (b. 1981) is a Swedish artist living in Stockholm. He studied at Konstfack, Stockholm, at Goldsmiths College, London (MFA in Fine Art, 2005-07); and Whitney Independent Study Programme, Studio, New York (2014-15). In 2012-13 he was a resident artist at Gasworks, London, supported by Iaspis. Recent solo shows include That Which Follows, Konsthall C, Stockholm (2012), Nothing is Left to Tell, Muro Gallery, Geneva (2011), Second Origin, Gallery Detroit, Stockholm (2010), and The Rest is Silence, Formcontent, London (2009). The artist has also participated in various group exhibitions, including Field Studies, Group Show, Altes Finanzamt, Berlin (2011), The Snow White Banquet, Screening, Centre de Pompidou, Paris (2010), Runaway Train, Bonniers Konsthall, Stockholm (2010), Loop International Festival and Fair for Video Art, Barcelona (2008), and One Must Be So Careful These Days, Alma Enterprises, London (2007). Recent screenings and public events include the 32nd Bienal de São Paulo: ‘Incerteza Viva’ (2016); Screening, The Majority Never has Right on its SideBeursschouwburg, Brussels; Screening, VCA/Sidur Museum, Moscow; 29 June-10 August 2016, Time of Reasonable Doubts at NCCA, Moscow; Screening and artist talk, Rosas House of Culture, St. Petersburg, Russia; MEANING MAKING MEANING, A-venue in Gothenburg, Sweden.
Marina Vishmidt is a writer and lecturer in Culture Industry at Goldsmiths, University of London, where she convenes a course on theories and practices of creativity, labour and precariousness. She also runs a theory seminar at the Dutch Art Institute. Her work has appeared in South Atlantic Quarterly, Ephemera, Afterall, Journal of Cultural Economy, Australian Feminist Studies, and Radical Philosophy, among others, as well as a number of edited volumes. She is the co-author of Reproducing Autonomy: Work, Money, Crisis and Contemporary Art (with Kerstin Stakemeier) (Mute, 2016), and is currently completing a book-length project entitled Speculation as a Mode of Production (Brill, 2017).
