Supermarket Art Magazine #11

ISSN 2000-8155

SEK100/€10/US$11/£8.70

artist-run art magazine

issue#11

SHAPESHIFTERS

Editorial team EDITOR-IN-CHIEF ALICE MÁSELNÍKOVÁ EDITORIAL BOARD ALICE MÁSELNÍKOVÁ, STUART MAYES CONTRIBUTING WRITERS FOAD ALIJANI, EMILLE DE BLANCHE, C-PRINT, CRASHBOOMBANG STUDIOS, EDITH EKSTRÖM, NIKOLAY EVDOKIMOV, PAMELA GROMBACHER, JACOB JUHL, ALICE MÁSELNÍKOVÁ, STUART MAYES, ALEX PACHECO, ARTEMIS POTAMIANOU, PONTUS RAUD, SASHA ROSE RICHTER, ANDREAS RIBBUNG, TEXTUR, ASHIK ZAMAN CONTRIBUTING ARTISTS & PHOTOGRAPHERS KIMMO SCHRODERUS (7), FOAD ALIJANI (8–13), LEALVEILEBY (15), LENA BERGENDAHL (15, 18), JENNY KALLIOKULJU & MIKKO KUORINKI (15, 18), OLOF NIMAR (15, 18), ROXY FARHAT (18), EMILIA BERGMARK (18), ELIN ALDÉN (18), MILES COOTE (24), BRIGIT SANCHEZ CALLES (24–28), MELISSA JO SMITH (25), ROBERT TAYLOR (25), CECILÉ EMMANUELLE BORRA AKA CUNTINA (26), CHAFIC CHERIET (26), ROBERTO EKHOLM (26), XELO RICO (27), NICOLA REID (27), WILL MARTIN (28), DEREK CURTIS (29), GHLOW (30–31), PNKSLM RECORDINGS (31), PLATFORMS PROJECT (32, 40), JUXTAPOSE ART FAIR (33–34) GRAPHIC DESIGN KATHARINA PETER LANGUAGE EDITING AND PROOFREADING ALICE MÁSELNÍKOVÁ, STUART MAYES ADVERTISING SALES NADJA EKMAN ADVERTISING CONTACT AD@SUPERMARKETARTFAIR.COM PRINTING PRINTON TRUKIKODA LTD PUBLISHER PONTUS RAUD

All rights to the photographs belong to the artists or galleries if nothing else is specified. © Supermarket Art Fair ekonomisk förening 2021

artist-run art magazine #11

Máselníková

CREATIVE DIRECTOR

Raud

Alice is a Czech visual artist and curator based in

Pontus is a graduated postmodernist who has finally

Stockholm. Out of the three creative directors of Super-

become a painter. Initiator and co-founder of Supermarket

market she is the one with the most hair and least beard.

and today one of the three creative directors. He has also

Also the editor-in-chief of Supermarket Art Magazine. She

curated some of his own projects such as Suecia Contem-

is the initiator of the artist-run initiative Flat Octopus,

porare and the famous cake performance at Moderna

project leader of Artist-Run Network Europe, project

Museet. Pontus is an art consultant/curator at Stockholm

manager of Woven Network Nordics and Woven Network

Regional Council and Västerås Regional Council, a member

Sweden at Intercult, and also works as a freelance editor

of the artist collective KKV and a board member of IAA

and funding advisor. When she is not working or painting

Europe.

you are likely to find her lost in a book or typing on her

Secret weapon? My wife.

Olympia SM4 typewriter. Secret weapon? My hairdressing skills.

CREATIVE DIRECTOR

Ribbung

FLOOR MANAGER

Granat

Andreas is co-founder and one of the three creative directors of Supermarket. He is a painter and besides working with his own art, he is involved in the artist-run

Paulina "Palle" is a Swedish arts manager, artist and freelance curator currently pursuing her MA via the programme for Curating Art at Stockholm University. With

exhibition space Candyland and active as a project leader

a background in ethnology and aesthetics from Uppsala

and adviser on art in the public realm, at the moment for

University, her professional interests revolve around

Region Kalmar County and Region Stockholm. He is the

collaborative and experimental artistic practices, social

father of four wonderful daughters and a dedicated gastro-hedonist.

politics and science fiction. Paulina is one of the co-founders of art collective Flat Octopus and team member of

Secret weapon? Short memory.

Supermarket Art Fair since 2017. Secret weapon? I always keep a hairpin nearby – they're good for pretty much everything!

TALKS & PERFOR MANCE COORDINA TOR

Tynan

PROFESSIONAL NETWORKING PARTICIPANTS (PNP) COORDINATOR

Gottlieb

Laura is an Irish visual artist working in print and

Lucie is an independent curator, a stained-glass addict and

bookbinding. She holds an MA in Medieval Studies

the co-founder of Galleri Nef, a studio and exhibition space

(History of Art and Latin) and a BA in History of Art and

located in Bagarmossen, Stockholm. She has been part of

English from University College Dublin. Her artistic

the Supermarket team since 2019. Her interests and

practice is focused on the subject of home, nature, the

practice explore through radical empathy a range of

environment and how that can be documented and

affective notions such as death, cultural heritage, public

archived. Laura is an active studio and board member

feelings, and spirituality, amongst other things.

of art collective Detroit Stockholm.

Secret weapon? Winning card games that I play for the

Secret weapon? A good dictionary.

first time without knowing the rules and having no idea of what I am doing.

Felicia is Supermarket's very own spin doctor and communications officer with a passion for the written word and spectacular imagery. She has been part of the Supermarket team since 2017, and in 2020 she became a member of studio collective and art platform Gränd

PRESS OFFICER

Detroit Stockholm. Felicia holds a BA degree in Media & Communications from Stockholm University, and she further studied graphic design at Konstfack, Konstskolan Basis and Södertörns högskola. Secret weapon? Love in abundance!

Stuart is a visual artist living and working in Sweden. In addition to his studio practice he runs Glitter Ball showroom & projects, and art-education workshops. He studied at Mayes

Dartington College of Arts and the Slade School of Fine Art as well as taking courses at

PROOFREADER AND MEET INGS COORDINATOR

language editor for Supermarket Catalogue and Art Magazine since 2012. In 2020 he

Konstfack and the Royal Institute of Art Stockholm. Stuart has been a proofreader and became the Meetings Coordinator. Secret weapon? Dual nationality – a useful weapon in the fight against nationalism.

PHOTOGRAPHY AND EDUCATION COORDINATOR

2 Ekros

Brisling

INFORMATION COORDINATOR

Anna is a visual artist, writer and art historian specialised

Linnéa has been working with Supermarket as a volunteer

in photography. She holds an MFA from International

for the past two years but 2021 will be her first year in the

Center of Photography/Bard College and an MA in Critical

role of Information Coordinator. She holds a BA in Arts &

Theory and the Arts from the School of Visual Arts in New

Business Administration and currently works as a host at

York City. Anna was educated by masters such as Anders

Accelerator and Liljevalchs konsthall. She is also involved

Petersen, Halil Koyutürk and later Nan Goldin. She has an

in the project Materialmagasinet, a collaboration between

interest in truth in relation to imagery, curious of the

various Stockholm institutions that focuses on minimising

moments where the edges of the medium become visible.

waste by reusing materials from exhibitions and produc-

Secret weapon? My writing skills.

tions. Secret weapon? Smiles!

GRAPHIC DESIGN

Peter

ADS SALES

Ekman

Katharina was born in 1984 in Austria. She studied Graphic

Nadja is a photographer, inventor, co-founder of Candyland

Design in Graz. After working on several art and culture

and a member of Glimpse interactive mobile photo studio.

projects in Sweden and Austria she got to know Supermar-

Three days a week she teaches children and young people

ket and got hooked. Most of her projects start with a pencil

at the Stockholm School of the Arts in Husby and Rinkeby

and then they continue often as a combination of all sorts of manual and digital techniques which finally result on paper. She now lives and works in Switzerland. Secret weapon? I can sometimes successfully read other

and a few months a year she sells advertising space in the

Supermarket Art Magazine. She loves to watch dance and

dances herself but does not like to freeze.

Secret weapon? Skills in darts.

people's minds.

M 2 WEBMASTER

Fail

WEB DESIGNER

Wanngård

John works primarily in open-form collaborations. He is

Hanna is a singing web designer who, in addition to web

currently developing a new platform for experimental

design, has studied sustainability, risk and decision theory,

cultural research located in a former train station in south-

and rhetoric. Starting up her web career in the beginning

west Estonia – to begin activities in winter 2021–2022.

of the 20th century she has had a keen interest in following

Previously, he was the co-instigator of Biathlon, a toolkit

the most recent innovations concerning web design. That

for experimental and participatory culture production that

has been keeping her quite busy, but since 2002 she has

operated two collective spaces in Helsinki. He was

also been touring all over the world with a famous Swedish

co-director of the 2015 Pixelache festival, and ran the

piano player, singing in a vocal trio called the Vocalettes.

Ptarmigan platform from 2009–2014.

In the future when she has some spare time she is

Secret weapon? I'm a lover and a taxpayer, not a warrior.

planning to save the world.

Secret weapon? Patience. Welcome to the most recent additions to the team: Maria Eriksson – Press assistant, and Veronika Muráriková – Social media assistant.

Exhibitors at Minimarket and Supermarket 2006–2020

minimarket 2006, THE LOUNGE, KONSTNÄRSHUSET Exhibitors: ak28, Stockholm, Sweden, BLOT, Stockholm, Sweden, Candyland, Stockholm, Sweden, CRAC, Stockholm, Sweden, Fiberartsweden, Stockholm, Sweden, ID:I Galleri, Stockholm, Sweden, Konstnärernas centralköp, Stockholm, Sweden, Konstnärshuset, Stockholm, Sweden, Nationalgalleriet, Stockholm, Sweden, Studio 44, Stockholm, Sweden, SUPERMARKET 2007, KONSTNÄRSHUSET, Exhibitors: Galleri Box, Gothenburg, Sweden, Candyland, Stockholm, Sweden, Cirkulationscentralen, Malmö, Sweden, Consortium, Amsterdam, Netherlands, Dunk!, Copenhagen, Denmark, France Fiction, Paris, France, Galleri 54, Gothenburg, Sweden, ID:I Galleri, Stockholm, Sweden, Koh-i-noor, Copenhagen, Lifebomb, Berlin, Germany, Low Salt Gallery, Glasgow, Marienborg, Trondheim, Norway, Nationalgalleriet, Stockholm, Sweden, Studio 44, Stockholm, Sweden, Tegen2, Stockholm, Sweden, 300m3 Art Space, Gothenburg, Sweden, Verkligheten, Umeå, Sweden, Lounge/Presentation stands: ak28, Stockholm, Sweden, BKF, Copenhagen, Denmark, BUS, Stockholm, Sweden, Canal, London, United Kingdom, Chto Delat, St. Petersburg, Russia, CRAC, Stockholm, Sweden, Edmund Piper/Berliner Kunstsalon, Berlin, Germany, Ersta Konsthall, Stockholm, Sweden, Fiberartsweden, Stockholm, Sweden, Good TV, Stockholm, Sweden, IKK, Malmö, Sweden, Konstnärernas centralköp, Stockholm, Sweden, KRO, Stockholm, Sweden, NKF, Nordic Art Association Sweden, Paletten, Gothenburg, Sweden, Pineapple Videobar, Malmö, Sweden, SITE Magazine, Stockholm, Sweden, Sometimes, Stockholm, Sweden, Torpedo Bookstore, Oslo, Norway, Twochange, Stockholm, Sweden, SUPERMARKET 2008, ENSKILDA GALLERIET, Exhibitors: Alma Enterprises, London, United Kingdom, Galleri Barbara Hansen/van Eijk’s, Oslo, Norway, Bastard, Stockholm, Sweden, Galleri Box, Gothenburg, Sweden, Candyland, Stockholm, Sweden, Cirkulationscentralen, Malmö, Sweden, Co-Lab, Copenhagen, Denmark, Dunk!, Copenhagen, Denmark, f.a.i.t., Kraków, Poland, Galleri 54, Gothenburg, Sweden, Fiberartsweden, Stockholm, Sweden, Formverk, Nyköping, Sweden, The White Tube/The G.U.N. Ladies, Oslo, Norway, ID:I Galleri, Stockholm, Sweden, Kabine, Copenhagen, Denmark, Kultivator, Dyestad, Öland, Sweden, Lifebomb, Berlin, Germany, Nationalgalleriet, Stockholm, Sweden, P/////AKT, Amsterdam, Netherlands, Piper/Sabela, Berlin/Cologne, Germany, RCCAAQ Quebec, Montréal, Canada, Sculptors Guild, New York, United States, Spanien 19C, Aarhus, Denmark, Studio 44, Stockholm, Sweden, szu szu, Warsaw, Poland, Tegen2, Stockholm, Sweden, Unten Drunter, Malmö, Sweden, Wyspa, Gdansk, Poland, Presentation stands: BUS, Bildkonst Upphovsrätt i Sverige, Sweden, CRAC, Stockholm, Sweden, Hjärnstorm, Stockholm, Sweden, KRO, Konstnärernas Riksorganisation, Sweden, Konstnärshuset/SKF, Stockholm, Sweden, NKF, Nordic Art Association Sweden, Paletten, Gothenburg, Sweden, Sjön, Malmö, Sweden, SUPERMARKET 2009, CLARION HOTEL, Exhibitors: Galleri 54, Gothenburg, Sweden, Abandoned Gallery, Malmö, Sweden, ABC Gallery, Moscow, Russia, Alma Löv, Östra Ämtervik, Sweden, Barbur, Jerusalem, Israel, Galleri Box, Gothenburg, Sweden, Candyland, Stockholm, Sweden, Carla Brew Gallery, Stockholm, Sweden, Centre for Visual Introspection, Bucharest, Romania, CirkulationsCentralen, Malmö, Sweden, DUNK!, Copenhagen, Denmark, Echo, Edinburgh, United Kingdom, Fiberartsweden, Stockholm, Sweden, Formverk, Eskilstuna, Sweden, FrideyMickel, Berlin, Germany, Huuto, Helsinki, Finland, ID:I Galleri, Stockholm, Sweden, Galleria Just, Turku, Finland, Koncentrat, Kiruna, Sweden, Konstepidemin, Gothenburg, Sweden, Kultivator, Dyestad, Öland, Sweden, Kuten, Helsinki, Finland, Laundry, Birmingham, United Kingdom, Lokal_30, Warsaw, Poland, Malt, Reykjavik, Iceland, Microwesten, Berlin, Munich, Oberstdorf, Germany, Nationalgalleriet, Stockholm, Sweden, Nest, the Hague, Netherlands, P/////AKT, Amsterdam, Netherlands, Project Space 1646, the Hague, Netherlands, Raketa, Stockholm, Sweden, Galleri Rostrum, Malmö, Sweden, Space Poetry, Copenhagen, Denmark, Spanien 19C, Aarhus, Denmark, Spark, Copenhagen, Denmark, Sprinkler, Näsby, Öland, Sweden, Studio 44, Stockholm, Sweden, Galleri Syster, Luleå, Sweden, Tegen2, Stockholm, Sweden, Titanik / Arte, Turku, Finland, Twochange, Stockholm, Sweden, Unten Drunter, Botnik Studios, noCUBE, Sweden, V8 Plattform, Karlsruhe, Germany, Verkligheten, Umeå, Sweden, Presentation stands: Art in Office, Stockholm, Sweden, DBVS, Nya Digitala Bildverkstaden, Stockholm, Sweden, Filmform, Stockholm, Sweden, Global Stone Workshop, Stockholm, Sweden, Hjärnstorm, Stockholm, Sweden, KC Öst, Stockholm, Sweden, Konstperspektiv, Stockholm, Sweden, KRO/KIF, Stockholm, Sweden, Live Action Gothenburg, Sweden, NKF, Nordic Art Association Sweden, Nurope, Turku, Finland, SUPERMARKET 2010, KULTURHUSET, Exhibitors: 00130Gallery Helsinki, Helsinki, Finland, Galleri 54, Gothenburg, Sweden, Galleri 69, Oslo, Norway, Alpineum Produzentengalerie, Lucerne, Switzerland, A.M.180 Collective, Prague, Czech Republic, Art On Armitage, Chicago, United States, Art Video Screening, Örebro, Sweden, Articule, Montréal, Canada, Artillerie, Berlin, Germany, ArtMobile, Västerås, Sweden, Microwesten, Berlin, Germany, Biro Beograd, Belgrade, Serbia, Brickworks, Stockholm, Sweden, Candyland, Stockholm, Sweden, Caravansarai, Istanbul, Turkey, CFF – Centrum för fotografi, Stockholm, Sweden, CirkulationsCentralen, Malmö, Sweden, Gallery Crymo, Reykjavík, Iceland, De Service Garage, Amsterdam, Netherlands, Fiberartsweden, Stockholm, Sweden, FIT freie internationale tankstelle, Berlin, Germany, FixC Cooperative, Helsinki, Finland, Formverk, Eskilstuna, Sweden, Fylkingen, Stockholm, Sweden, Global Stone Workshop, Stockholm, Sweden, Harrington Mill Studios, Nottingham, United Kingdom, Galleria Huuto, Helsinki, Finland, ID:I Galleri, Stockholm, Sweden, Inquietart, Mallorca, Spain, Kilen Art Group, Luleå, Sweden, Konsthall ö, Borgholm, Öland, Sweden, Galleri Konstepidemin, Gothenburg, Sweden, Konstnärshuset, Stockholm, Sweden, Kultivator, Dyestad, Öland, Sweden, Kultur am Nauener Platz, Berlin, Germany, Malt, Reykjavík, Iceland, Microwesten, Berlin, Germany, MUU gallery, Helsinki, Finland, Nationalgalleriet, Stockholm, Sweden, Nest, The Hague, Netherlands, Plan3, Kristianstad, Sweden, Project Dice/Galerie Kleefeld, Hamburg, Germany, Project Space 1646, The Hague, Netherlands, QWERTY, Odense, Denmark, R.E.P., Kiev, Ukraine, Rajatila Gallery, Tampere, Finland, Seven Seven Contemporary Art, London, United Kingdom, Skånes Konstförening, Malmö, Sweden, Studio 44, Stockholm, Sweden, Galleri Syster, Luleå, Sweden, Tegen2, Stockholm, Sweden, Titanik Gallery, Turku, Finland, Transit, Marseille, France, V8 Plattform, Karlsruhe, Germany, Velcome, Ghent/Antwerp/Moscow, Belgium/Russia, wip:sthlm, Stockholm, Sweden, Galeria Wschodnia, Łódź, Poland, X-ray at the Perseverance, London, United Kingdom, Presentation stands: Biondibooks, Stockholm, Sweden, [the] Evidence, London, United Kingdom, Hjärnstorm, Stockholm, Sweden, KRO/KIF/Tidningen Konstnären, Stockholm, Sweden, Konstperspektiv, Stockholm, Sweden, NKF, Nordic Art Association Sweden, Paletten, Gothenburg, Sweden, V.art, Värnamo, Sweden, SUPERMARKET 2011, KULTURHUSET, Exhibitors: 00130Gallery Helsinki, Helsinki, Finland, 1646, The Hague, Netherlands, A.M.180 gallery, Prague, Czech Republic, ACOSS, Yerevan, Armenia, Alpineum Produzentengalerie, Lucerne, Switzerland, ART ON ARMITAGE, Chicago, United States, art:screen, Örebro, Sweden, artillerie, Berlin, Germany, ArtMobile, Västerås, Sweden, Artspace, Galway, Ireland, Candyland, Stockholm, Sweden, Caravansarai, Istanbul, Turkey, CFF – Centrum för fotografi, Stockholm, Sweden, CHIOSC, Oberliht Association, Chisinau, Moldova, CirkulationsCentralen, Malmö, Sweden, Club Electro Putere, Craiova, Romania, De Service Garage, Amsterdam, Netherlands, De Zwarte Ruyter, Rotterdam, Netherlands, DÍÓNÝSÍA residency, Westfjords, Iceland, Entrée, Bergen, Norway, Escuela de Vagabundos, Mexico City, Mexico, FIT freie internationale tankstelle, Berlin, Germany, Five Hundred Dollars, London, United Kingdom, Formverk (art zone), Eskilstuna, Sweden, Fullersta Bio Konsthall, Huddinge, Sweden, Galeria Biała, Lublin, Poland, Galleri 54, Gothenburg, Sweden, Galleri Box, Gothenburg, Sweden, Galleri Maskinen, Umeå, Sweden, Galleria Huuto, Helsinki, Finland, GalleriaKONE Ars-Häme ry, Hämeenlinna, Finland, Gallery IME, Sofia, Bulgaria, Gocart Gallery, Visby, Sweden, HMK {HotelMariaKapel}, Hoorn, Netherlands, ID:I Galleri, Stockholm, Sweden, In Focus: African and Nordic Art in Collaboration, Mali, Nigeria, Sweden, KNIPSU, Bergen, Norway, Konstnärshuset, Stockholm, Sweden, Konstverket/Taidevirasto, Jakobstad, Finland, Kultivator, Dyestad, Sweden, Lo and Behold, Athens, Greece, Microwesten, Berlin, Germany, MOCA London, London, United Kingdom, Mustarinda Artists In Residency, Hyrynsalmi, Finland, MUU galleria, Helsinki, Finland, Nationalgalleriet, Stockholm, Sweden, Office d’Art Contemporain, Brussels, Belgium, Oksasenkatu 11, Helsinki, Finland, Open Place, Kiev, Ukraine, Photographic Gallery Hippolyte, Helsinki, Finland, Propeller Island, London, United Kingdom, rosalux, Berlin, Germany, Sant Marc, Inca, Spain, Skånes konstförening, Malmö, Sweden, Skulptörförbundet, Stockholm, Sweden, small projects, Tromsø, Norway, Stacion – Center for Contemporary Art, Prishtina, Kosovo, Studio 44, Stockholm, Sweden, Tegen2, Stockholm, Sweden, TEMA, Klaipeda, Lithuania, Treignac Projet, Treignac, France, ZET foundation, Amsterdam, Netherlands, Presentation stands: ArtSceneTrondheim, Trondheim, Norway, DKTUS, Stockholm, Sweden, Filmform, Stockholm, Sweden, Konstperspektiv, Stockholm, Sweden, KRO/KIF, Stockholm, Sweden, No Budget Performance, Stockholm, Sweden, NKF, Nordic Art Association Finland, NKF, Nordic Art Association Sweden, SUPERMARKET 2012, KULTURHUSET, Exhibitors: A.M.180 collective, Prague, Czech Republic, Alpineum Produzentengalerie, Lucerne, Switzerland, Argument Vertoningsruimte, Tilburg, The Netherlands, Art Container, Tallinn, Estonia, Art Lab Gnesta, Gnesta, Sweden, art:screen, Örebro, Swede, ArtMobile, Västerås, Sweden, Blank Projects, Cape Town, South Africa, Bristol Diving School, Bristol, United Kingdom, Candyland, Stockholm, Sweden, CFF – Centrum för fotografi, Stockholm, Sweden, CirkulationsCentralen, Malmö, Sweden, Duplex10m2, Sarajevo, Bosnia and Herzegovina, Ed Video Media Arts Centre, Guelph, Canada, FELTspace, Adelaide, Australia, Fotogalerie Wien, Vienna, Austria, Fundacja Salony, Zielona Góra, Poland, Galeria de muerte, Tokyo, Japan, Galleri 69, Oslo, Norway, Galleri Bergman, Helsinki, Finland, Galleria Huuto, Helsinki, Finland, Galleria Rajatila, Tampere, Finland, GalleriaKONE, Hämeenlinna, Finland, Gocart Gallery, Visby, Sweden, GRAD, European Centre for Culture and Debate, Belgrade, Serbia, Greylight Projects, Hoensbroek, The Netherlands, ID:I Galleri, Stockholm, Sweden, IS-projects+SNO+ParisCONCRET, Leiden / Sydney / Paris, Kallio Kunsthalle, Helsinki, Finland, KNIPSU, Bergen, Norway, Konstnärshuset SKF, Stockholm, Sweden, KONTORprojects, Frederiksberg, Denmark, Kultur am Nauener Platz e.V., Berlin, Germany, Kunsthuis SYB, Beetsterzwaag, The Netherlands, Kurant Visningsrom, Tromsø, Norway, Lo and Behold, Athens, Greece, Mantova Eyes, Mantova, Italy, Milkshake Agency, Geneva, Switzerland, MOBA, Banatska Dubica, Serbia, Modern Fuel Artist-Run Centre, Kingston, Canada, MUU galleria, Helsinki, Finland, Nationalgalleriet, Stockholm, Sweden, Nest, The Hague, The Netherlands, OFF LIMITS, Madrid, Spain, OFIS, Moscow, Russia, Photographic Gallery Hippolyte, Helsinki, Finland, Plan B, Amsterdam, The Netherlands, Ptarmigan, Tallinn, Estonia / Helsinki, Finland, QWERTY, Copenhagen, Denmark, rainbowartsproject, Singapore, rosalux, Berlin, Germany, Sant Marc, Sineu, Spain, Scibase, Leeds & Liverpool, United Kingdom, SERDE, Aizpute, Latvia, Shift Collaborative Studio, Seattle, United States, SIC, Helsinki, Finland, small projects, Tromsø, Norway, Studio 44, Stockholm, Sweden, Superclub Gallery, Edinburgh, United Kingdom, T.ACT, Karlsruhe, Germany / Cairo, Egypt / Khartoum, Sudan / Stockholm, Sweden, Tegen2, Stockholm, Sweden, Third Belgrade, Belgrade, Serbia, Totaldobze, Riga, Latvia, Toves Galleri, Copenhagen, Denmark, Tupajumi foundation, Rotterdam, The Netherlands, Udstillingsstedet Spanien19C, Aarhus, Denmark, Unit One Gallery, Beijing, China, Verkligheten, Umeå, Sweden, Volt, Bergen, Norway, ZET foundation, Amsterdam, The Netherlands, Zeta Galeri, Tirana, Albania, Zolder Museum, Amsterdam, The Netherlands, Presentation stands: Artycok.TV, Prague, Czech Republic, Graffitifrämjandet, Stockholm, Sweden, Konstnärernas Kollektivverkstad, Nacka, Sweden, Konstnärscentrum Öst, Stockholm, Sweden, Konstperspektiv, Stockholm, Sweden, KRO/KIF, Stockholm, Sweden, Kulturtidskriften Cora, Stockholm, Sweden, NKF, Nordic Art Association Finland, NKF, Nordic Art Association Sweden, Tidskriften Hjärnstorm, Stockholm, Sweden, SUPERMARKET 2013, KULTURHUSET, Exhibitors: 1646, The Hague, The Netherlands, 2B Gallery, Budapest, Hungary, A.M.180 collective, Prague, Czech Republic, ALISN, London, United Kingdom, Alpineum Produzentengalerie, Lucerne, Switzerland, Ars Auttoinen, Auttoinen, Finland, Art Lab Gnesta, Gnesta, Sweden, Art On Armitage, Chicago, United States, Artellewa Art Space, Cairo, Egypt, Artists’ Association of Lapland, Rovaniemi, Finland, Ateljén Hea, Sunne, Sweden, blank projects, Cape Town, South Africa, Blue Oyster, Dunedin, New Zealand, Candyland, Stockholm, Sweden, CFF – Centrum för fotografi, Stockholm, Sweden, CirkulationsCentralen, Malmö, Sweden, Dienstgebäude, Zurich, Switzerland, Duplex100m2, Sarajevo, Bosnia and Herzegovina, Ed Video Media Arts Centre, Guelph, Canada, Espacio Tangente, Burgos, Spain, Evil Son, Cape Town, South Africa, Formverk (art zone), Eskilstuna / Banatska Dubica, Sweden / Serbia, fragment S, Seoul, South Korea, Galeria Szara, Cieszyn, Poland, Galleri Box, Gothenburg, Sweden, Galleri Konstepidemin, Gothenburg, Sweden, Galleri Maskinen, Umeå, Sweden, Galleri Se Konst, Falun, Sweden, Galleri Syster, Luleå, Sweden, Galleri Verkligheten, Umeå, Sweden, Galleria Huuto, Helsinki, Finland, Galleria Sculptor, Helsinki, Finland, Gocart Gallery, Visby, Sweden, GRAD, Belgrade, Serbia, Grafiska Sällskapet / The Swedish Printmakers’ Association, Stockholm, Sweden, Green Is Gold, Copenhagen, Denmark, Grimmuseum, Berlin, Germany, Gudran Association for Art and Development, Alexandria, Egypt, Heavy Merry Finland, Rotterdam / Helsinki, Netherlands / Finland, HMK {Hotel Maria Kapel}, Hoorn, the Netherlands, ID:I Galleri, Stockholm, Sweden, IS-projects, Leiden, Netherlands, JCA DE KOK, The Hague, Netherlands, Kallio Kunsthalle, Helsinki, Finland, Kings ARI, Melbourne, Australia, Konstnärshuset, Stockholm, Sweden, Kultivator, Dyestad, Sweden, Le Cube – independent art room, Rabat, Morocco, Lo and Behold, Athens, Greece, Margaris Foundation / les yper yper, Thessaloniki, Greece, microwesten, Berlin / Munich, Germany, Milkshake Agency, Geneva, Switzerland, MUU galleria, Helsinki, Finland, Nationalgalleriet, Stockholm, Sweden, Nest, The Hague, Netherlands, Office d’Art Contemporain, Brussels, Belgium, Or Gallery, Vancouver, Canada, pietmondriaan.com, Rotterdam, Netherlands, rainbowartsproject, Singapore/ Indonesia, Singapore/Indonesia, Sant Marc, Sineu, Mallorca, Spain, Studio 44, Stockholm, Sweden, Superclub Gallery and Studios, Edinburgh, United Kingdom, T-Gallery, Bratislava, Slovakia, t.act presented by KUNSTtransit, Amsterdam / Buenos Aires / Berlin-Karlsruhe-Cologne / Lisbon / Stockholm / Rabat, Argentina / Germany / Iraq / Morocco / Netherlands/ Portugal / Sudan / Sweden, Tegen2, Stockholm, Sweden, The M( )esum, Berlin, Germany, The Museum of Forgetting, Norrköping, Sweden, Toolbox, Berlin, Germany, Totaldobze, Riga, Latvia, TPTP, Transient Projects To People, Paris, France, Tupajumi foundation, Rotterdam, Netherlands, ZeroStation, Ho Chi Minh City, Vietnam, Zeta Galeri, Tirana, Albania, Zona, Szczecin, Poland, Ў gallery, Minsk, Belarus, Presentation stands: KKV – Konstnärernas Kollektivverkstad i Nacka, Stockholm, Sweden, Konstkonsulenterna i Sverige, Sweden, Sweden, Konstnärernas Hjälpfond, Stockholm, Sweden, Konstnärscentrum Öst, Stockholm, Sweden, Konstperspektiv, Stockholm, Sweden, KRO/KIF, Stockholm, Sweden, Kulturtidskriften Cora, Stockholm, Sweden, LMDP, L’autre Moitié Du Palais, Paris, France, Mondo Tromsø, Tromsø, Norway, NKF, Nordic Art Association Finland, NKF, Nordic Art Association Sweden, Sveriges Konstföreningar, Limhamn, Sweden, Tidskriften Hjärnstorm, Stockholm, Sweden, SUPERMARKET 2014, KULTURHUSET, Exhibitors: 00130Gallery Helsinki, Helsinki, Finland, 1646, The Hague, Netherlands, 3:e våningen / 3rd, oor, Gothenburg, Sweden, AADK Centro Negra, Blanca, Spain, AllArtNow, Damascus, Syria, Alpineum Produzentengalerie, Lucerne, Switzerland, A.M.180 Collective, Prague, Czech Republic, Art On Armitage, Chicago, United States, Artellewa Art Space, Cairo, Egypt, Artists’ Association of Oulu, Oulu, Finland, Ateljén Hea, Sunne, Sweden, Atlantic House, Cape town, South Africa, Bhotsun Art, Lhasa, Tibet, China, Galleri Box, Gothenburg, Sweden, Candyland, Stockholm, Sweden, CCA Tbilisi, Tbilisi, Georgia, CirkulationsCentralen, Malmö, Sweden, Daily Temporary, Stockholm, Sweden, Detroit Stockholm, Stockholm, Sweden, Duplex100m2, Sarajevo, Bosnia and Herzegovina, Ed Video Media Arts Centre, Guelph, Canada, Galeria Entropia, Wrocław, Poland, Extra Muros / Pol’N, Nantes, France, Fiber Art Sweden, Stockholm, Sweden, Filmverkstaden, Vaasa, Finland, fragment S, London, United Kingdom, Gocart Gallery, Visby, Sweden, Grafik i Väst, Gothenburg, Sweden, Grafiska Sällskapet, Stockholm, Sweden, Grüntaler9, Berlin, Germany, Gudran, Alexandria, Egypt, Harp Art Lab, Harplinge, Sweden, Hjärnstorm, Stockholm, Sweden, Galleria Huuto, Helsinki, Finland, ID:I Galleri, Stockholm, Sweden, Kallio Kunsthalle, Helsinki, Finland, Kunstenaarsinitiatief |elders, The Hague, Netherlands, Kunstschlager, Reykjavík, Iceland, Lateral ArtSpace, Cluj-Napoca, Romania, Galleri Lokomotiv, Örnsköldsvik, Sweden, Galleri Maskinen, Umeå, Sweden, Mnky Bizz Group, Las Vegas, United States, Museolaboratorio, Città Sant’Angelo, Italy, The Museum of Forgetting, Norrköping, Sweden, MUU galleria, Helsinki, Finland, Nationalgalleriet, Stockholm, Sweden, Gallery Nectar/GeoAIR, Tbilisi, Georgia, Nest, Den Haag, Netherlands, Occupy Space, Limerick, Ireland, OK Corral Exhibition Space, Copenhagen, Denmark, Oonagh Young Gallery, Dublin, Ireland, Ormston House, Limerick, Ireland, Paper, Manchester, United Kingdom, Peek-a-Boo Gallery (Gotham Studios Inc), Perth, Australia, Plan B, Amsterdam, Netherlands, Platform, Vaasa, Finland, QWERTY, Odense, Denmark, Rajatila Gallery, Tampere, Finland, Galleria Sculptor, Helsinki, Finland, Galleri Se Konst, Falun, Sweden, Slakthusateljéerna, Stockholm, Sweden, Studio 44, Stockholm, Sweden, S. Y. L . A. N T E N H E I M, Bonn, Germany, TAL, Rio de Janeiro, Brazil, Tegen2, Stockholm, Sweden, The Room Below, Kanazawa, Japan, Tupajumi foundation, Rotterdam, Netherlands, Galleri Verkligheten, Umeå, Sweden, Galleria VISU, Kokkola, Finland, Water tower art fest, Sofia, Bulgaria, Zeta Gallery, Tirana, Albania, Ў Gallery, Minsk, Belarus, Presentation stands: Konstkonsulenterna i Sverige, Sweden, Konstnärernas Kollektivverkstad (KKV), Nacka, Sweden, Konstnärscentrum Öst, Stockholm, Sweden, Konstperspektiv, Stockholm, Sweden, KRO/KIF, Stockholm, Sweden, Kulturtidskriften Cora, Stockholm, Sweden, NKF, Nordic Art Association Finland, NKF, Nordic Art Association Sweden, OEI, Stockholm, Sweden, Sveriges Allmänna Konstförening (SAK), Stockholm, Sweden, SUPERMARKET 2015, SVARTA HUSET, TELEFONPLAN, Exhibitors: 1646, The Hague, Netherlands, Galleri 54, Gothenburg, Sweden, Al-Mahatta Gallery, Ramallah, Palestine, AllArtNow, Damascus, Syria, Alpineum Produzentengalerie, Lucerne, Switzerland, A.M. 180 collective, Prague, Czech Republic, Antena Estudio, Mexico City, Mexico, Art On Armitage, Chicago, United States, Artellewa Art Space, Cairo, Egypt, Axel Obiger, Berlin, Germany, AXENÉO7, Gatineau, Canada, Bang Art Now Centre, Saguenay, Canada, Galleri Box, Gothenburg, Sweden, Candyland, Stockholm, Sweden, CirkulationsCentralen, Malmö, Sweden, Club Solo, Breda, Netherlands, Detroit Stockholm, Stockholm, Sweden, Dienstgebäude, Zurich, Switzerland, Duplex100m2, Sarajevo, Bosnia and Herzegovina, Eulengasse, Frankfurt, Germany, Filmverkstaden, Vaasa, Finland, Gocart Gallery, Visby, Sweden, Grafiska Sällskapet, Stockholm, Sweden, hangmenProjects, Stockholm, Sweden, ID:I Galleri, Stockholm, Sweden, interviewroom11, Edinburgh, United Kingdom, Galleri Konstepidemin, Gothenburg, Sweden, Kunsthuis SYB, Beetsterzwaag, Netherlands, Köttinspektionen, Uppsala, Sweden, Lateral ArtSpace, Cluj-Napoca, Romania, Miza Galeri, Tirana, Albania, Museum of Contemporary Cuts, Istanbul, Turkey, MUU galleria, Helsinki, Finland, Nafasi Art Space, Dar es Salaam, Tanzania, Open Place, Kyiv, Ukraine, Ormston House, Limerick, Ireland, Parazit, Saint Petersburg, Russia, Parkingallery, Tehran, Iran, Pasaj, Istanbul, Turkey, Photographic Centre Peri, Turku, Finland, Pink Cube, Oslo, Norway, Plan B, Amsterdam, Netherlands, Sant Marc, Sineu, Spain, Galleria Sculptor, Helsinki, Finland, Sever-7, Saint Petersburg, Russia, Silverado, Poznań, Poland, Studio 44, Stockholm, Sweden, Tegen2, Stockholm, Sweden, The Room Below, Kanazawa, Japan, Titanik Gallery, Turku, Finland, Udstillingsstedet TYS, Copenhagen, Denmark, Urgente, Buenos Aires, Argentina, Various Artists, Brussels, Belgium, Galleri Verkligheten, Umeå, Sweden, Verkstad: rum för konst, Norrköping, Sweden, Ў Gallery, Minsk, Belarus, Presentation stands: Bilaga – limited editions, Gothenburg, Sweden, Konstkonsulenterna i Sverige, Sweden, Konstnärernas Kollektivverkstad i Nacka, Sweden, Konstperspektiv, Sweden, Konstpool, Stockholm, Sweden, NKF, Nordic Art Association Finland, Plattform, Malmö, Sweden, Tidskriften Hjärnstorm, Stockholm, Sweden, SUPERMARKET 2016, SVARTA HUSET, TELEFONPLAN, Exhibitors: 3:e våningen/3rd floor, Gothenburg, Sweden, 427, Riga, Latvia, Al-Mahatta Gallery, Ramallah, Palestine, AllArtNow, Damascus, Syria, Alma Martha, Cape Town, South Africa, Candyland, Stockholm, Sweden, Galleri CC, Malmö, Sweden, Detroit Stockholm, Stockholm, Sweden, Duplex100m2, Sarajevo, Bosnia and Herzegovina, Eulengasse, Frankfurt, Germany, Filmverkstaden, Vaasa, Finland, Fylkingen, Stockholm, Sweden, Grafik i Väst, Gothenburg, Sweden, Grafiska Sällskapet, Stockholm, Sweden, Hinterland galerie, Vienna, Austria, ID:I Galleri, Stockholm, Sweden, Intimnoe mesto, St. Petersburg, Russia, Konstnärshuset/SKF, Stockholm, Sweden, Kunsthalle Graz, Graz, Austria, kunsthallekleinbasel, Basel, Switzerland, Kunstplass [10], Oslo, Norway, Köttinspektionen, Uppsala, Sweden, Luda gallery, St. Petersburg, Russia, The MART Gallery, Dublin, Ireland, Miza, Tirana, Albania, MoTA – Museum of Transitory Art, Ljubljana, Slovenia, Mote 078 Gallery, Columbus, United States, MUU galleria, Helsinki, Finland, Nationalgalleriet, Stockholm, Sweden, New Media Society, Tehran/Va Space, Isfahan, Iran, Nieuwe Vide, Haarlem, Netherlands, NKF, Nordic Art Association Finland, Oksasenkatu 11, Helsinki, Finland, Ormston House, Limerick, Ireland, Photographic Centre Peri, Turku, Finland, Platform Arts, Belfast, United Kingdom, Galeria Raczej, Poznan, Poland, RAM Galleri, Oslo, Norway, Galleri Rostrum, Malmö, Sweden, Salón/A 30, Madrid, Spain, Scotty Enterprises, Berlin, Germany, Galleria Sculptor, Helsinki, Finland, Galleri Se Konst (GSK), Falun, Sweden, Small Projects, Tromsø, Norway, Spanien19C, Aarhus, Denmark, Studio 44, Stockholm, Sweden, Tegen2, Stockholm, Sweden, tm•galleria, Helsinki, Finland, top palais, Berlin, Germany, Tupajumi foundation, Rotterdam, Netherlands, Verkstad Konsthall, Norrköping, Sweden, VSVSVS, Toronto, Canada, Ytan, Västerås, Sweden, Presentation stands: Cora, Stockholm, Sweden, Hjärnstorm, Stockholm, Sweden, Konstnärscentrum Öst, Sweden, Konstpool, Stockholm, Sweden, KRO/KIF/Konstnären, Stockholm, Sweden, Reflektor M, Munich, Germany, Yellowbox arts, Borgholm, Sweden, SUPERMARKET 2017, SVARTA HUSET, TELEFONPLAN, Exhibitors: 1646 The Hague, Netherlands, Produzentengalerie 4h-art, Hannover, Germany, Galerie A.M.180, Prague, Czech Republic, Al-Mahatta, Ramallah, Palestine, AllArtNow, Damascus, Syria, Atelier de l’Observatoire, Casablanca, Morocco, Madrassa Collective, Multiple countries, Galleri Box, Gothenburg, Sweden, Brodac Gallery, Sarajevo, Bosnia and Herzegovina, Bunkern, Örebro, Sweden, Candyland, Stockholm, Sweden, Carousel Institute of Arts (C.I.A.), Chesterfield, United Kingdom, Club Solo, Breda, Netherlands, Code Rood, Arnhem, Netherlands, Demon’s Mouth, Oslo, Norway, Detroit Stockholm, Stockholm, Sweden, Duplex100m2, Sarajevo, Bosnia and Herzegovina, Galleri Erik Axl Sund, Stockholm, Sweden, Factory 49, Marrickville, Sydney, Australia, Grafik i Väst, Gothenburg, Sweden, Grafiska Sällskapet, Stockholm, Sweden, Galleri GRO, Jakobstad, Finland, hangmenProjects, Stockholm, Sweden, HilbertRaum, Berlin, Germany, Galleria Huuto, Helsinki, Finland, ID:I Galleri, Stockholm, Sweden, Intimnoe mesto, St. Petersburg, Russia, Kallio Kunsthalle, Helsinki, Finland, Konstnärshuset SKF, Stockholm, Sweden, Kunstverein Familie Montez, Frankfurt am Main, Germany, Galleria Lapinlahti, Helsinki, Finland, Galleri Lokomotiv, Örnsköldsvik, Sweden, Medrar, Cairo, Egypt, Galería Metropolitana, Santiago, Chile, Miłość Gallery, Torun, Poland, Mnky Bizz Group, Panama City, Panama, Mote Gallery, Columbus, United States, Moving Art Initiative F.L.O.A.T., Amsterdam, Netherlands 46, Museum of Forgetting, Norrköping, Sweden, MUU Gallery, Helsinki, Finland, Nationalgalleriet, Stockholm, Sweden, Ormston House, Limerick, Ireland, Piedras, Buenos Aires, Argentina, Plattform Ankaret, Visby, Sweden, Raketa, Stockholm, Sweden, RAM Galleri, Oslo, Norway, Red Salt, Stockholm, Sweden, Rejmyre Art Lab, Rejmyre, Sweden, Galleri Rostrum, Malmö, Sweden, Roundabout Collective, Munich, Germany, Sant Marc, Sineu, Spain, Galleria Sculptor, Helsinki, Finland, Sodų 4, Vilnius, Lithuania, Stroboskop Art Space, Warsaw, Poland, Studio 44, Stockholm, Sweden, Tegen2, Stockholm, Sweden, tm•galleria, Helsinki, Finland, Tonenton, Copenhagen, Denmark, Toolboxx, Berlin, Germany, Underground Space Station, Toronto, Canada, VA Space, Isfahan, Iran, Verkstad konsthall, Norrköping, Sweden, Köttinspektionen, Uppsala, Sweden, Presentation stands: Blackbook Publications, Stockholm, Sweden, Kulturtidskriften Cora, Stockholm, Sweden, Golden Bee, Stockholm, Sweden, Tidskriften Hjärnstorm, Stockholm, Sweden, Holistic Bureau of Investigation, Gothenburg, Sweden, Interface Co., Galway, Ireland, Konst i Dalarna (KiD), Siljansnäs, Sweden, Konstpool, Stockholm, Sweden, KRO/KIF/Tidningen Konstnären, Stockholm, Sweden, Kulturförvaltningen SLL, Stockholm, Sweden, SixtyEight Art Institute, Copenhagen, Denmark, Studio147, Cape Town, South Africa, SUPERMARKET 2018, FÅLLAN, SLAKTHUSOMRÅDET, Exhibitors: 14+ Artists, Dar es Salaam, Tanzania, 3:e Våningen, Gothenburg, Sweden, Alfred Institute, Tel Aviv, Israel, AllArtNow, Damascus, Syria/Sweden, Alma Martha, Cape Town, South Africa / Gallery Kalashnikovv, Johannesburg, South Africa, Kunstverein Baden, Baden, Austria, Berlinskej Model, Prague, Czech Republic, Bunkern, Örebro, Sweden, Candyland, Stockholm, Sweden, Gallery ч9, Murmansk, Russia, Code Rood, Arnhem, Netherlands, Dom gruzchika, Perm, Russia, Durden and Ray, Los Angeles, United States, Ekkisens Art Space, Reykjavík, Iceland, Electric Room, Tehran, Iran, Elektrozavod gallery, Moscow, Russia, Kunstverein Familie Montez, Frankfurt am Main, Germany, Galleri GRO, Jakobstad, Finland, HotDock Project Space, Bratislava, Slovakia, Galleria Huuto, Helsinki, Finland, InChina, Tbilisi, Georgia, Istanbul Performance Art, Istanbul, Turkey, Galleri Konstepidemin, Gothenburg, Sweden, Konstnärshuset, Stockholm, Sweden, KRÆ syndikatet, Copenhagen, Denmark, kunsthallekleinbasel, Basel, Switzerland, Kunstraum flat1, Vienna, Austria, Land404, Jämjö, Sweden, Lateral ArtSpace, Cluj-Napoca, Romania, Galleri Lokomotiv, Örnsköldsvik, Sweden, Musel Link asbl MIMO project, Aspelt, Luxembourg, MŰTŐ, Budapest, Hungary, Nieuwe Vide, Haarlem, Netherlands, Nulobaz Cooperative Gallery, Tel Aviv, Israel, Paleis van Mieris, Amsterdam, Netherlands, Photoport, Bratislava, Slovakia, Pracownia Portretu, Łódź, Poland, Galleri Rostrum, Malmö, Sweden, Galerie SAW Gallery, Ottawa, Canada, Galleria Sculptor, Helsinki, Finland, Storm And Drunk, Madrid, Spain, Studio 44, Stockholm, Sweden, Svends Bibliotek, Copenhagen, Denmark, Tegen2, Stockholm, Sweden, Terminal B, Kirkenes, Norway, tm•galleria, Helsinki, Finland, >top Schillerpalais, Berlin, Germany, Wykwit, Wrocław, Poland, Presentation stands: Artist-Run Alliance, Rehovot, Israel, Kulturtidskriften Cora, Stockholm, Sweden, KRO/Tidningen Konstnären, Stockholm, Sweden, OEI, Stockholm, Sweden, rojal, Gothenburg, Sweden, SUPERMARKET 2019, UDDVÄGEN, SICKLA, Exhibitors: AllArtNow, Damascus, Syria / Stockholm, Sweden, Alma Marfa / Kalashnikovv Gallery, Vaasa, Finland / Johannesburg, South Africa, Alternative Art Guide, The Hague, Netherlands, Berlinskej Model, Prague, Czech Republic, BiteVilnius AiR, Copenhagen, Denmark / Džiugai, Lithuania, Bunkern, Örebro, Sweden, Centrala, Birmingham, United Kingdom, cx – soyuzhudozhnikov, Perm, Russia, Durden and Ray, Los Angeles, United States, Ed Video Media Arts Centre, Guelph, Canada, Kunstverein Familie Montez, Frankfurt, Germany, FFTN, Saint Petersburg, Russia, FokiaNou Art Space, Athens, Greece, Galleri Gotland, Visby, Sweden, Greylight Projects, Hoensbroek, Netherlands / Brussels, Belgium, Galleria Huuto, Helsinki, Finland, Ideas Block, Vilnius, Lithuania, Interface, Recess, Ireland, Kropotkina 11, Saint Petersburg, Russia, Kunsthalle Graz, Graz, Austria, kunsthallekleinbasel, Basel, Switzerland, Land404, Jämjö, Sweden, Liliput Galeria Experimental, Puebla, Mexico, Matca Artspace, Cluj-Napoca, Romania, Nieuwe Vide, Haarlem, Netherlands, Nulobaz Cooperative Gallery, Tel Aviv, Israel, Ormston House, Limerick, Ireland, Patara gallery, Tbilisi, Georgia, Galerie SAW Gallery, Ottawa, Canada, Shelter Artists Run Space, İzmir, Turkey, SIGN, Groningen, Netherlands, Studio 44, Stockholm, Sweden, Swojskie tropiki, Wrocław, Poland, Ta·da, Copenhagen, Denmark, tm•galleria, Helsinki, Finland, Turps Art School, London, United Kingdom, Galleri Verkligheten, Umeå, Sweden, Stichting VHDG, Leeuwarden, Netherlands, Vidéographe, Montréal, Canada, Videokaffe, Finland / Germany / Russia / United States, Presentation stands: A.C.S., Seoul, South Korea, Chmura, Visual Culture Foundation, Gdańsk, Poland, Kulturtidskriften Cora, Stockholm, Sweden, Tak Gallery, Poznań, Poland, Associate Galleries, Candyland, Stockholm, Sweden, Detroit Stockholm, Stockholm, Sweden, Galleri Majkens, Stockholm, Sweden, Grafiska Sällskapet, Stockholm, Sweden, Konstnärshuset, Stockholm, Sweden, Tegen2, Stockholm, Sweden, SUPERLOCAL 2020, KAPSYLEN and AROUND STOCKHOLM, Galleri Toll, Stockholm, Sweden, AllArtNowLab, Stockholm, Sweden, Detroit Stockholm, Stockholm, Sweden, Konstnärshuset, Stockholm, Sweden, Grafiska Sällskapet, Stockholm, Sweden, Flat Octopus, Stockholm, Sweden, ID:I Galleri, Stockholm, Sweden, Studio 44, Stockholm, Sweden, Tegen2, Stockholm, Sweden, Candyland, Stockholm, Sweden, Galleri Nos, Stockholm, Sweden, Galleri Nef, Stockholm, Sweden, Hjorten, Stockholm, Sweden

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Editorial team Supermarket team 2021 Exhibitors at Minimarket and Supermarket 2006–2020 Editorial Alice Máselníková Tehran: A Shapeshifter Foad Alijani Room of one’s own C-print: Ashik Zaman and Edith Ekström Analogue likes: A Sentence of appreciation. CrashBoomBang Studios Transforming bureaucracy into systems of care textur magazine Another year on ... and still waiting Stuart Mayes Interview with GHLOW Emille de Blanche and Nikolay Evdokimov Spotlight on: Artist-run art fairs Juxtapose Art Fair and Platforms Project Anniversary reflections Alice Máselníková, Pontus Raud, Andreas Ribbung

Editorial: Hello again, and again Hello again. So we are back. It feels as if I have been writing the same editorial for eternity now. But here it is, having shapeshifted through its various forms and themes. For the whole Supermarket team it has been an exhausting two years. To plan a large international art fair in the middle of this insecure time vacuum is, let’s admit it, quite insane. What was initially meant to be Supermarket 2020 was rescheduled, then cancelled, reformatted as Superlocal 2020, and now it takes form as Supermarket 2021, finally showing all those exhibitors we selected already back in 2019. This only marks the fact that going forward often means taking quite a few steps backwards, or shifting sideways, or changing one’s plans completely. The past months made us somewhat introspective about our values and visions – what do we want the future Supermarkets to be like? What does it mean to ‘grow’ as an art fair? How can we become better and further strengthen the independent art scene? What have we gained and lost on the way to our present shape? As this year’s theme, we decided to go with ‘Shapeshifters’, perhaps reflecting our desire to move forward while looking back. We have a good starting point for change with our brand new venue, Stadsgårdsterminalen, the former cruise ship terminal, in the middle of the city with a picturesque view of Stockholm’s waterfront. This year marks the 15th international edition of Supermarket – Stockholm Independent Art Fair and over the time we have metamorphosed, grown and shrunk, transitioned and moved around. Continuous change, flexibility and development are key characteristics of the artist-run scene – shaped by its variety, focus on cooperation, international character, underground nature, and simulta6

neously the lack of strong visibility, precarious economic structures, gaps in sharing of experience and tiredness with the bureaucratic system. Shapeshifting is so alluring to us as it represents the possibility for a change for the better. It promises hope for a future contained in personal transformation, gives us power over our own destinies in times when we feel powerless; allows us to jump between dreams and realities. Shapeshifting is at the same time frightening as it serves as a reminder of judgment and justice, a righteous punishment to the wrongdoers, the fragility of existence easily tampered with by forces unknown to us. Acquiring a new shape was a common tactic of the Greek deities to implement their plans and passions – think of the ingenuity of Zeus transforming into golden rain to captivate Danae, into a bull to abduct Europa or a swan to reach Leda. The idea of shapeshifting has been thrilling people throughout centuries in mythology, folk tales, literature, popular culture and religion. Shapeshifters can change their physical form, shifting between the human and inhuman, between one consciousness and another, through skills granted by magic – good or evil, superpowers or divine order. This duality of shapeshifting – voluntary or imposed, one a symbol of freedom, the other of confinement – is a mirror of real life transformations. Not every change is good or welcome. Changes feel better if we can actively take part in them. Life feels better if we believe ourselves to be powerful enough to shape our own destinies. Waking up to a bizarre reality preserves meaning only if we do not feel like a useless insect trapped in a scaled body in a small room.

Cover image: Kimmo Schroderus, ‘Contemporary Beelzebub #1’, 714 x 1014 cm, 2021

In this issue of the Supermarket Art Magazine you will find a variety of angles on the elusive theme and the art world in general. Foad Alijani presents a poetic pondering on the transformation of the city of Tehran, Iran, portraying it as a living and breathing organism taken throughout the years with a mind of its own. As a part of a guest insert by C-Print, Ashik Zaman and Edith Ekström bring us closer to the current happenings on the Malmö art scene, giving the image of a strong movement of artist-run initiatives with a collaborative and supportive environment – an alternative to Stockholm’s independent galleries. A quite special insert filled with love and unabashed appreciation is that of ‘Analogue likes’ designed by CrashBoomBang Studios. Do you adore someone? Do you love something? Tear your feelings off the page and give out some love. Be brave. When else if not now?

scene. What has changed since last year and does the horizon look any brighter for British artists? In the interview department the magazine features an interview with GHLOW, a Swedish-Russian music duo consisting of Emille de Blanche and Nikolay Evdokimov. GHLOW are Supermarket 2021’s guest band performing at the opening night, and we get a glimpse into their music and connection to the visual arts. As mutual support and collaboration in the artist-run world are some of Supermarket’s millstones, we also highlight other events that strengthen the artist-run scene. You can find two interviews: with the three directors of the latest addition to the independent art fair scene, Juxtapose Art Fair, Pamela Grombacher, Jacob Juhl and SashaRose Richter; and with the founder and artistic director of Platform Projects, Artemis Potamianou. Last but not least, the celebration, the introspection, and the vision, all combined in eleven questions about the past and the future to each of the three creative directors, as a honorary part of our anniversary reflection. We do not know what this year or the coming years will bring us, but we keep on shapeshifting, makeshifting, upshifting. Enjoy the reading! Alice Máselníková, Editor-in-chief

textur magazine’s floorplan of a hypothetical workspace ponders the often rigid concept of an office and offers a fresh take on the working environment that is collectively shaped, flexible and in a constant flux. Stuart Mayes brings the third and last part of his series of articles on the impact of Brexit on the contemporary art 7

Tehran:

Foad Alijani

City as the embodiment of a human society forms its body on the basis of different elements and eventually its dynamic is based on those very same elements. With the passing of time, changes in human lifestyles and the turning of cities to megacities, the societal aspect of cities has gained even more importance. Characteristically, alterations in the physical body of cities have made the ground for formation of many concepts and circumstances.

Tehran changes. Almost one century has passed after a phenomenon that is called ‘Modernisation’ in Iran. After which Tehran, as the last capital city of the Iran dynasties, became the place to represent the exterior of this movement. The Metamorphosis of Tehran, especially in the past few centuries, has been overshadowed by the phenomenon of massive changes through elimination. Eradication of names, memories and many other things which are ironically easily accessible through references. Tehran is used to constant transformation. Processes of elimination change from being decades long to time spans of just months. This body has been duplicated in many ways, has been defaced many times over and over, and has eventually not forgotten but has deleted its own life experience.

North, where that mountain is located, windows wish to open to that mountain. Its body has been intertwined with Tehran’s glands. From the time when the mountain lost its connection to the water springs, the mountain’s sweat flowed to the sewage. Its direction has changed. They want to climb this mountain which hosts snow spots just for a few months.

Tehran forgets. A café turns into a theater. A palace turns into a courthouse. Numerous buildings and avenues change in order to eradicate a part of history. Now it has all changed. Nobody remembers anymore. Even names are changing. It has dragged its body to the skirts of the neighboring states in order for its cells to keep reproducing.

Tehran does not stop. Cells undergo too much pain; one can always hear whining throughout the city. Even the ones who go up the mountains see the whining in the form of fumes.

Tehran devours. Crows have migrated from many of its parts. Malnourished foxes are scattered across the city. Also there are cats, at the same time in comfort and in struggle with co-existence. The sound of birds has faded. Tehran hardly breathes; gardens have turned into a few trees that are left and last big parks have been transfixed in the same place for years.

Tehran is an underground city. Many stories are hidden in its nooks and crannies and only first-hand narrations can be taken from them. At this point in time, photos narrate things which are both existent and non-existent. A lot of things are hidden. There is a paradox that things get eliminated and at the same time they long to remain. The body of Tehran in order to grow competes with its own cells. Cells eat up one another in order to survive. Some cells only survive by feeding on under-skin cells. Other cells either change places or transform into one another. There used to be springs in Tehran that are now reduced to small wells which sometimes reach fresh water that for a few seconds flows into the wells and again goes back to earth.

Tehran always changes.

Tehran, May 2021

Room OF of One’s ROOM ONE’S Own OWN Ashik Zaman & Edith Ekström

If Malmö has often appeared as an opposite of Stockholm, this is something that is evidently reflected too in the city’s local art scene. A few things have rung very clear over time. One is how artists, in the absence of a commercial gallery realm, have significantly taken to self-organising by way of artist-run spaces and studio collectives with their own exhibition practices. The other, consequently is, how collective and inclusive the mindset there is.

mong the many artist-run spaces in Malmö, ALTA is a favourite, because the group of art ists running it, themselves are all brilliant and the exhibition programme they present is unfailingly fun and provides timely and fresh emerging art. They even produce their own zine and the space is quite distinctive. Located in what from the front side appears to be a nondescript industrial area (overlooks a nondescript residential area from the back), the exhibiting space is a generous passage space outside the actual entrance door to the artists’ studios. If Malmö is a ‘melting pot’, the space is a direct mirror reflection of it, as the bustling building houses large community spaces that are rented for epic weddings parties and the likes. That reality naturally entails surprise visitors at their exhibitions from temporary neighbours on the premises. That also means, as Matti Sumari and Julia Selin tell me, that huge boiling pots will literally actually pass through the exhibitions (a passage space after all) and that surprise interventions along those lines need to be taken into account both by them and invited artists. “One of the great things about being here is the food. So much food is made for the parties thrown here that we often get to have the leftovers. At this point you know what your favourite Afghani dish is”, says Julia Selin. She mentions how their exhibitions based on the time frame of one weekend have been linked to the experience of going to concerts. You’re either there or not. Blink and you might miss it. “Our running conditions are such that we set them ourselves according to what works with our own schedules and energy as artists. Since we are self-funded there are no external demands on the availability or the density of a programme”, Matti Sumari says, elaborating on the freedom inherent in ALTA. They both agree that there is indeed a gap in Malmö between high-brow art institutions and the artist-run circuit that ALTA

is a part of. “I think the reason why this artist-run scene has had incentives to expand and has become so dynamic is partially to fill a void from commercial galleries that could have been of great benefit to artists here”, suggests Julia Selin. “If you don’t do it yourself, who can you rely on to invite you?”, continues Matti Sumari. Malmö might lack certain bricks of an art puzzle but from the point of view of an artist-run gallery this also means the distance locally to people like curators, directors and institutional leaders is smaller. “I don’t think you can expect in Stockholm for a museum director just to show up at a pop-up one-night‑only exhibition venue, but that can happen here”, considers Julia Selin. “Ultimately, the spotlight here on initiatives like ours that make things happen without proper means becomes a lot greater”, believes Matti Sumari. I mention that an emphasis on the individual is less predominant in my social conversation here in Malmö and come to think of how when Signal was awarded the prestigious annual Dynamo Award by Konstnärsnämnden, the institution actually solidarically shared and distributed the award money with other venues in city, including ALTA. “There’s certainly a lot of desire here to work from a position of solidarity, a lot of speeches and apologies but then sometimes: nothing. I don’t need apologies. I’ll be one to ask: ‘But what will you really do?’”, notes C. Grace Chang, Chang, who is the curator of Skånes konstförening,, as we meet over coffee inside Folkets park. Previoing usly based on an artist-run structure, Skånes konstförening essentially bears the standing in Malmö of a great art institution. Skånes konstförening notably since 2017, annually awards an emerging artist based in Skåne with the Sven and Ellida Hjorts Exhibition Grant, which includes a grand solo exhibition. Most recently the recipient was Cia Kanthi and past recipients before

her have included Hanni Kamaly and Ikram Abdulkadir. “Solidarity is a verb. It’s a noun, yes, but it is a verb”, continues the curator, who says discussions at Skånes konstförening have largely been about how to connect policy and action so that they align. As a result, with her at the helm, the direction of Skånes konstförening has increasingly steered towards creating safe spaces for marginalised communities to meet, converse and create together. “I don’t want to say for people who fall between the cracks because that expression implies that it is an objective process and an objective reality which is not the case. But instead I’ll say for people but who normally don’t get a fair share.” She also suggests that safeguarding the future by way of including others to take more active charge of the programme has been a focus. “In retrospect the programme has much been about asking others what they think the future should look like and then asking them to come in and do something with us accordingly.” C. Grace Chang is the first to say that her own background in art is not your most typical path of a BFA/MFA programme and entirely credits her predecessor curator Tawanda Appiah for being where she is as a curator at Skåne konstförening today. “It all came down to Tawanda [and his co-curator Simona Dumitriu] who curated my own past exhibition at Skåne konstförening and gave me the time of the day when literally no one else would. None of this would have been possible without him”, she says. I note that it is generous of her to acknowledge this and bring up as a joke sometimes doing interviews without the interviewee once mentioning a single other name throughout the whole process. Our conversation is very enlightening and comes with several epiphanies. As we speak I’m struck by how the only way to really go for an institution is to be able to recognise your own limitations and bridge them by reaching out to others who know or can, when you don’t or can’t. “Honesty and play are two such crucial parts of working”, says C. Grace Chang. Indeed, it really must be fun as well, I tell her in agreement. “Getting to play is such a privilege at the end of the day”, she concludes.

Wherever the Sunbeam Falls, Skånes konstförening, photo: Lena Bergendahl

C. Grace Chang

Sleepy Servant, exhibition view at ALTA Art Space, photo: Olof Nimar

ROOM

Conversations with Arkana Something that is found in Malmö’s art scene is the presence of separatist art venues, offering safe spaces for minority communities that are not always given opportunities for their art istic explorations. We’ve spoken to Arkana and Galleri Slätten, both spaces for women, non-binary and transgender artists, about the need for these kinds of platforms and what it’s like for them to operate in Malmö.

Edith: Firstly, tell us about Arkana. What were your goals first starting it? Arkana: Arkana started as, and is, a non-profit cultural organisation for women, non-binary and transgender artists. Our goal is to create a venue for us and at the same time use the space as a gallery. We choose to work with group exhibitions instead of solo exhibitions, focusing on visual arts, textile arts and crafts. You may recognise our space by the special orange colour we’ve painted our walls with, a shade that has a calming and healing yet curious and creative vibe to it. E: What’s it been like to run an initiative like Arkana in Malmö? What have been the ups and downs? A: It’s all ups! Malmö is the best place to start some thing like this and we’ve been very well-received. Our venue used to be the gallery Makeriet that was well known so it’s been easy for people to find us. One down was COVID-19 that made it harder for us to create live events and for people to meet and hang out at our space, where we also want to do other events than the exhibitions. We are now eagerly looking forward to everyone getting vaccinated! E: What room would you like Arkana to fill in Malmö’s art scene? A: We want to be a space for women, non-binary and transgender artists to meet, collaborate and grow together. It’s important for us that the space is a safe space to be in, but at the same time open for the general public to visit. We want Arkana to be a space where we support each other, the artists and our visitors. You don’t have to be an established artist to exhibit at our space; many of the participating artists are first time exhibitors. E: Since Arkana is a separatist gallery; could you elaborate on the need of exhibiting venues such as yours? A: We started Arkana because we really felt that a space like ours was needed. We are a foundation for

artists who aren’t yet established and artists that are too shy or don’t feel comfortable with having a solo exhibition. At the same time, we exhibit artists who are more established as well. Working like this we create bridges between them and make a new form of collaborating possible. Spaces like ours are very much needed because of the patriarchy we are live in, obviously. We want to support the ones that aren’t represented enough in our society today. We have been influenced by spaces like Galleri Slätten and Whose Museum, Museum, and we are happy to see that other queer and/or separatist spaces are opening, for example the bookstore Page 28. 28. All of these places are important, and we all work in different ways but with the same ideology. Malmö is a town with many queer artists, and it is blooming! E: You mentioned having had a great reception by the public. It sounds like things are working out well for you! A: We have been very well met! We are very thankful that our first two years have been going well. Many artists are applying, and we have had a lot of visitors despite the COVID-19 situation. The artists applying are from 18-60 right now and that is about the ages of our visitors as well. We are happy that we have such diverse crowd. E: How do you experience the collaborate spirit between different spaces and participants in Malmö’s art scene? A: It is amazing! In Malmö people are willing to collaborate more than in other cities. We have started dialogues with several spaces. E: What are your plans, post COVID-19? A: We want to collaborate more! We are now creating a map of queer spaces in Malmö. Through this map we have made many new contacts and are planning to collaborate soon. We will also have more readings, smaller concerts and DJs in our space. We want people to meet again!

ONE’S

OWN

& Galleri Slätten

Edith: What’s the story behind Galleri Slätten? Who is found at the helm? Slätten: Slätten was started in 2015 by Elin Aldén and Ylva-Li Ahlström. Ahlström. A few years earlier, they had met at a photography school and both liked to work departing from separatism. From that grew a dream of someday starting a separatist gallery for women, transgender and non-binary artists in Malmö. When Ylva-Li’s grandmother told them about a vacant basement space on Möllevången, in the same house that Ylva-Li had grown up in, everything fell into place. Together, they began a major renovation of the space, which had been used by a battery company for 40 years. Slätten became a room for artists to exhibit in, but also a studio collective where many artistic expressions have seen room over the years. Today there are ten active artists in the studio collective and since 2018 the work with the gallery has been a collective process in different constellations. Over the years, Elin Aldén, Maria Flodmark, Stina Lundkvist, Andrea Santivanez, Josefina Vega Ezpeleta,Evelina Zachrison Persson, Christina Tsiobanelis, Hanna Reidmar, Lisa Ewald and Ylva-Li Ahlström have all been part of Galleri Slätten. E: How would you describe the art scene in Malmö? S: Malmö has a very rich art life! Above all, the independent art and culture scene is very strong and alive here. It may sound cliché or romanticised, but Malmö has a rather special and unpretentious atmosphere, perhaps unique in Sweden. There are new initiatives and projects constantly happening, and we feel that people are eager to cooperate! Today there are many galleries and studio collectives that work norm-crit ically, like Arkana and Whose Museum. It feels like this way of working is more common today which is super fun. E: What’s it been like to run Galleri Slätten for the past six years? S: We have received incredibly nice and positive response from both participating artists and visitors over the years, which confirms the need we felt for a separatist space. This also gives energy and a drive to continue. But sometimes it is tiring to work non-profit, and it is not always easy to navigate through different people’s schedules to keep it afloat. A lot happens in six years and based on who is involved in the gallery we decide what we want to do and how to do it. It’s an ongoing open dialogue.

E: You’ve explained using separatism as a tool for inclusion in the art scene, could you elaborate? S: We experience that the art scene in general is still quite unreachable. By adopting an expressed separatism, we hope that people who might not otherwise feel as confident and at home in art contexts could be able to feel that there is a slightly safer room for them to explore their own or others’ artistic expressions. Maybe, and hopefully, the step to continue working after that will not be as big. This has become even more apparent during our four spring salons (our annual group exhibitions) where we have received between 100-200 applications per year with a large range of both established and unestablished artists. For some artists it has been the first time their work has been exhibited. E: You talk as well about wanting to create a space where the focus is to cooperate instead of competing. S: Art scenes can be individualistic. There is still some sort of idealized shimmer over the lone artist, a kind of idea that the individual and the “own” expression is still the finest, most desirable. But also, there is a focus on the artist as a person. It stresses the artistry as some kind of personal brand, which also creates competition and can become quite uninteresting. We work collectively in Slätten and are not interested in working on the basis of such elitist norms. Kindness is more important than coolness for us and we want it to be welcoming and comfortable for artists and visitors to be here. Having a dialogue about the art with both artists and visitors is a way to be inclusive. It is about flattening hierarchies and shifting focus from the individual to their work and to create conditions, be it economic or social, for people to have the opportunity to work based on desire instead of profit. E: Lastly, what are your future plans for Slätten? S: Right now we have an ongoing discussion about what the future of Slätten can look like. We are in a process of change but haven’t put into words what, when or how yet. These six years have been wonderful! But also, a bit exhausting. So, it’s also about finding ways to work as a non-profit gallery without the workload becoming too heavy. We talk a lot about how Slätten should be accessible to more people and we want to try new ways of using the space. This autumn the studio collective will have a small collaboration with Skånes konstförening (who do very exciting things!) during Bästa Biennalen. Biennalen. And hopefully we will also be able to do some of the events that we had planned but had to postpone due to the pandemic.

OOM OF ONE’S OW

Roxy Farhat, Skånes konstförening, photo: Lena Bergendahl

Emilia Bergmark, Galleri Slätten, photo: Elin Aldén

Sleepy Servant, Exhibition view at ALTA Art Space, photo: Olof Nimar

CMY

Arkana, courtesy: Arkana

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Professors: Alejandro Cesarco Verina Gfader Joachim Koester Sarat Maharaj Gertrud Sandqvist Fredrik Vaerslev

Senior lecturer: Maria Hedlund P-O Persson Junior lecturer: Youngjae Lih Honorary Doctors: Mary Kelly Heimo Zobernig

External tutors: Rosa Barba Charif Benhelima João Penalva Michael Portnoy Nina Roos

Programme Autumn 2021 Master in Fine Arts — Courses — Panta Rei— on conceptions of the world, mysticism and quantum physics with Gertrud Sandqvist and Stephan Møller — Analyzing your own work with Gertrud Sandqvist — The Weight of Vision: Choreographing the Gaze with Marie Muracciole — The status of the medium (Covid-era painting) with Fredrik Vaerslev Master in Fine Arts in Artistic Research — courses — Individual preparation for artistic research with Verina Gfader — Art Research with Verina Gfader, Sarat Maharaj, Gertrud Sandqvist, Matts Leiderstam and Alejandro Cesarco — Proposal–Text. Document. Archive. Format: voicing, enunciation, text through time, im-print, il-legible with Verina Gfader

PhD Candidates: Sven Augustijnen Yael Bartana Jürgen Bock Bouchra Kahlil Lea Porsager Emily Wardill

Disputation: Lea Porsager, Cu(n)tsplicing thought-forms — promiscuous play with quantum physics, 16 December

Malmö Art Academy Gallery KHM1 Friisgatan 15B Malmö Gallery KHM2 Bergsgatan 29 3 våningen Malmö

Bachelor in Fine Arts — Courses — The roles of the artist with Gertrud Sandqvist — Writing about own work with Gertrud Sandqvist — Economy and law with Katarina Renman Claesson — Behavioural Theatre Utopia with Michael Portnoy — The Lab with Emily Wardill — On Materiality with Runo Lagomasino — 16mm film with Joachim Koester, Sophie Ljungblom and Youngjae Lih — Power trip with Kira Nova — Digital tools for at spatial practice with Carlos Alvarez Clemente — 3D modelling and printing with Youngjae Lih — Analogue photo with Youngjae Lih — A Beginners guide to soundart with Mathias Kristersson — Welding with Ariel Alaniz and P-O Persson — Plastic with P-O Persson and David Nilsson — Moulding form (plaster)/alginate with P-O Persson and Marc Rizell — Painting: Foundation course with Fredrik Vaerslev and Lena Johansson

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Another year on ... and still waiting 1 January 2021 saw the transition period end and a new chapter in the relationship between Britain and the EU open. In his third and final article on Brexit Swedish-based British artist Stuart Mayes invites three UK based artists to talk about the situation as they find it. Michael Petry and Roberto Ekholm have their own practices, in addition they run MOCA London, an artist-run project with over twenty years’ experience of working with British and European artists. Derek Curtis is a London‑based artist who has established a strong commercial career in Germany. The impact of Brexit is felt by them in both similar and distinct ways.

Movement of goods

That might be the same here but no-one knows. You go to the Arts Council website which directs you to the government’s

Roberto Ekholm: We have not seen the full impact of Brexit.

website, which tells you to speak with your shipper, and the

When I contacted a shipper to get a quote for taking the

shipper does not know anything. When doing a touring show we

Nature Morte show to the US possibly next year he could very

do not even know how long work can be out of this country

easily answer about that but he could not give an answer

without incurring fines. We had a problem in Norway and work

about Europe.1 I cannot say to any museum in Europe “this

had to come back to the UK and then to Sweden. Once it was in

will be fine, the exhibition can travel”.

Sweden it was no problem to go to Poland and then back to England, but that is now completely taken away.

Michael Petry: The real question is how institutions in Europe are going to have to deal with the VAT.2 If someone ships an

MP: So right now we cannot look towards any shows – nobody

artwork to us in London we would have to pay 20% in VAT on

can take the risk. If you want to get something from the UK to

the value of it. If we then sent it back we could reclaim the

Europe the only way to do it is to ship it to Belfast, and drive it

VAT, but we still have to pay the VAT upfront. Let’s say you

to Dublin – because there are no checks and then it is in Europe

wanted to bring in a work by Richter for a show – can you

and then you can send it anywhere without any tax. But

imagine the VAT on that? It’s impossible! Tate has an

officially you would be in contravention of the rules. This

arrangement with the government where they are consid-

border between Northern and Southern Ireland has just made it completely bizarre

have to pay the VAT. There are four or

in terms of how

five other museums that have that

things can be

situation. RE: The important thing is that the government has not established how this [the movement of artworks] is going to work. Norway has set up rules, so when I have work stuck in customs – which has happened several times – I go to the Norwegian government website and copy their rules and tell customs that these are your rules and this is how it works.

1 A large group show that includes artworks from both UK and European artists. 2 Value Added Tax paid to Her Majesty’s Inland Revenue, UK.

Miles Coote, ’Queer life drawing’, Peckham Queer Art Boot Fair organised by MOCA London, Sunday 29 August 2021, photo: Brigit Sanchez Calles

ered to be a ’free port’ so they never

moved across it. RE: It is one thing to have VAT on a sale, but this is just about taking the work into another country. I could take my work to Germany and sell it there and I would have to pay tax there; the same in Norway – you pay tax when you sell. But the rules here are

RE: Big galleries will have a whole department dealing with shipping. In the next six months when Melissa Jo Smith and Robert Taylor, Peckham Queer Art Boot Fair, Sunday 29 August 2021, photo: Brigit Sanchez Calles

artists want to exhibit around Europe, this is when we are going to see where things get stuck. MP: It is really bad for our sector – the artist-run sector. It is bad for the big companies too but they have enough money to make the problem go away. RE: Bigger galleries will have someone who just works with shipping. Smaller galleries have just one or two staff who have to deal with everything. So to survive the next twelve months they may have to hire someone – small- to mid-range galleries are already struggling with shipping costs to Asia not clear. If I have a show in another country I have to pay

and America, and now this is happening on their

import tax – of course I could say that each work is worth just

doorstep. I think that it will have a massive impact on

£50 but I cannot do that when I am curating other artists’ work.

these galleries. And if they get it wrong they could get a massive tax bill.

MP: I think that is really going to affect a lot of younger artists because in the past young artists would send things to other

MP: Young artists are selling on Instagram, and collectors

young artists and galleries, and now they’re just not going to be

are looking on Instagram. I think that there is a big

able to do it, or they are going to do it on the sly – and that’s a

change coming and we do not even know what the art

problem if something goes wrong.

scene is going to look like. Older collectors are still going to want to go and look at the work but younger collectors

RE: And you might have to pay to get your work back. If the

do not care – if it looks good on Instagram then they want

date when the work is allowed to be out of the country passes

it. It amazes me that people are buying artworks that are

the artist might have to pay import tax. We do not know what

£20,000 from one picture on Instagram.

that period is here [in the UK]. Derek Curtis: As artists we always have different streams MP: Part of the problem is that the whole government was

of revenue, but yes, last year was pretty nice – I relied

looking at COVID-19 but equally they were never looking at

just on painting. I have a gallery that I have had for

the arts sector, and that is why you have the situation where

twenty years in Germany, and had a solo show in

musicians cannot play in Europe. And when Europe offered

January last year [2020] just before the pandemic hit.

Britain the chance to have a quid pro quo arrangement they

Having visited the gallery over the years you get to

said no! And all this has done is to hurt the performance

know their clients and it really helped with the sales, it

sector and the art sector.

was good! And then it went well through the year which was a nice bonus.

I have a group show coming up in July. I tried to be

only difference). The Arts Council knew that this was going to

proactive so I shipped a lot of work [to Germany] in

happen so they could easily have put plan A, B and C in place to give

October last year. Then I had to work out how to do the

people an idea about what was going to happen, but it doesn’t seem

shipping this year which was … interesting. Whatever

to be there.

your feelings are about Brexit, it has happened and we have to deal with it. I think that as artists we are problem

These things should be straightforward. These are things that we

solvers … but it seems that it’s not just us, everyone has

should have been told about and given information about a couple

been left in a kind of mess. There doesn’t seem to be any

of years ago. Information might be there but you have got to find it

kind of plan, and I think that the frustrating thing is that

and then understand it. It is very complicated. I studied account-

we knew that this was going to happen. I worked in the

ancy a long time ago and worked in the freight industry, and I have

shipping industry for ten years – back office stuff – so I

been shipping stuff so I have a rough idea about it but it is a lot of

know a bit about it. I spoke with a couple of major freight

ticking boxes and making sure that you have all the different

companies and explained that I want to ship stuff and

forms, for example making sure that it is clear that the work was

they could not help me. I used to get a van and just drive

made in the UK so that you don’t have to pay tariffs on it, and

over to Europe but I spoke to one of the ferry companies

making commercial invoices for the VAT purposes. There are extra

and they said, you can’t do it – you can’t take commercial

layers of paperwork. It might not be that difficult but there are all

goods, you have got to do it through a freight importer.

these little bits and it all needs to be pulled together. For self-employed people

think that it is starting to get a bit

cash-flow is the problem

better but there’s a lack of clarity in

– if you are sending things

the information. If you look at the

to Iceland for a year you

Arts Council publications there is

do not want to have to

nothing there for artists giving

pay the VAT as a deposit

guidance. My impression is that

that will be held for a

everything for all small businesses has been stuck on at the last minute. They brought in training courses by the Export Society that cost about £2,000 and the government has grants for these courses but there is no guarantee that you will get the grant. How can I suddenly spend £2,000 on a training course if I can’t guarantee that I am going to get the money back? There’s nothing unless you can put up the cash up front.

Cecilé Emmanuelle Borra AKA Cuntina, Chafic Cheriet, Roberto Ekholm, Peckham Queer Art Boot Fair, Sunday 29 August 2021, photo: Brigit Sanchez Calles

It certainly was a mess early on, I

year, you would rather have that money in your bank account! It gets very tricky if I put the asking price on the commercial invoice because you don’t want to be paying 20% VAT on that [because it might not sell] but you have to put a reasonable price. I would be interested to know what commercial galleries do for art fairs

When I spoke with the two biggest freight companies,

and things like that.

DHL and Fedex, they could tell me how much it would cost to get things to Europe. They can’t tell me what the

As UK artists it does affect our creativity because when you are

duty and VAT is going to be when it comes in to Germany

sending stuff [abroad] it used to be easier. Now there might be

– this is ludicrous! I think VAT on art in Germany is 9%

more compromise because you are thinking I have got to be

whereas regular VAT is 19% and that’s a big difference.

sending stuff that makes some money. In my experience of

There is ATA Carnet where you don’t pay VAT for work in

working with galleries there is always give and take. They

museum shows where you don’t sell. With a normal

might want six of something because they know it will sell but

business you get an order for one thousand widgets, and

you can slip in some stuff that may not be as commercial. But

you send one thousand widgets to Jo Blogs in Amsterdam

now you are in a situation where you have to pay duty and VAT

for a known price, but with art you don’t know that you

or the gallery has to pay and that means that you perhaps play

are going to sell. But I have got to pay the VAT upfront

it safer than you would have in the past.

and hope that I get lucky. I have galleries that I have worked with for the last three to Now it is exactly the same shipping to Australia,

five years. I would have a show and then they would hold the

America and Asia as it is to Europe (the tariffs are the

work and perhaps next time I would go over I would send

some back. One of the galleries just sold a work from their website

universities. They used to have something like five percent

that is eight years old. I had already taken it to the UK four years

of students as Erasmus students. The scheme has been

ago, so now I have to send it back! Sometimes it happens like that.

replaced by Boris’ fiction of the ’Turing scheme’ but of

I hope things will work themselves out so that you can easily

course it is nothing – it is not actually an exchange.3

move your own work. RE: Another thing that is finishing soon is the EU SettleI have not even begun to think about getting work back after this

ment Scheme which gives [EU citizens] the right to stay in

exhibition! My work is quite large and on aluminium so it’s not

the UK.4 After that the government can just say that you

anything that I can roll up, send and re-stretch. The transport

have to go because you do not have the right to stay here. I

has to be professional. I have been exhibiting in Europe for

just advised a Spanish artist who has lived here for many

twenty years and I want to continue.

years after studying at Goldsmiths but moved back to Spain because of the pandemic, to apply for settled status

Movement of people

to avoid any problems when he returns to the UK.

Roberto Ekholm: I think that it is very relevant for Supermarket to

can should apply for settled status or they could be really

talk about residencies, for example – how are they going to work,

sorry.

MP: The government is being really nasty. Everyone who

having European artists coming for residencies here [in the UK]?

RE: There are a lot of

Michael Petry: There have been two

who have to apply for Xelo Rico and Nicola Reid, Peckham Queer Art Boot Fair, Sunday 29 August 2021, photo: Brigit Sanchez Calles

people in the world or three big stories about this: because the government is so anti-EU the people who are coming, with the right paperwork, are being stopped at the border and are put into detention centres and then sent back a week later. There was a woman from Spain who had all the paperwork, she was coming for a job interview, and they [border control] did not like a piece of paper so they took her phone and put her in a bus to a prison, where she was held for a week before being put on flight back to Spain. She said it was terrifying. RE: Priti Patel [the UK’s Home

visas to travel but it is a shock for us to have to do it in Europe. I think that a lot of people are not aware of this. There are going to be a lot of complications. I have twenty-five years professional arts experience and have learnt a lot because of the touring exhibitions, but new graduates and young artists risk a lot of things being cut off.

Secretary] said that she will fast track visas if you have an Oscar! The key thing is that the

Nobody knows what the fees are going to be for European

industry is reliant on a lot of musicians, dancers, and actors

students studying here. A Swedish art-school lecturer

who do not have an Oscar! They need to come and work here

asked me about opportunities to study in the UK, and I

for a week, and this is contributing to the British cultural

said that she was better off looking at other schools in

landscape. We have spoken about objects [artworks] entering

Europe because you may have to pay more than £10,000 in

the country, this is about people too – artists just being able

fees. So the focus on London and the UK being the place to

to come here and work or have a residency.

be is shifting a little bit. What would attract an artist to study in the UK now, because after you have finished and

At MOCA we are used to inviting artists to come and stay for

the government has got your fees they can say that you

a month and have an exhibition. There might well be issues

have to go back. This is going to have an impact on the

with visas now, we do not know. It is tricky because they are

whole art sector.

going to work but they are not getting paid [in a traditional monetary sense].

MP: It is not a happy situation!

MP: And as part of Brexit Boris [Johnson] forced the UK out of the Erasmus scheme. So we cannot even have students come – in the past we have had people from France, Poland, all over. It is a tragedy. And that is not just us but all

3 Named after Alan Turing but no doubt a play on Turing sounding like touring. 4 It closed 30 June 2021.

Derek Curtis: I built my career initially playing the

asked how long it will take before they make a profit. During this

international artist, it was easy to visit galleries in

pandemic we have had the Artists’ Support Pledge.5 What I think is

Europe. I could just turn up and say that I was from

really amazing with this is that it is no longer frowned upon to sell

London and ask ’would you like to see my work?’ and

work directly to collectors. And it is not frowned upon to have work

they would talk to me. It was easier to create a career and

at different prices so you can sell something for £200 but you can

network pre-Brexit and that’s been taken away from

also sell something for £10,000. There used to be a stigma where

younger artists. The arts is a people business, it’s about

you could only sell through galleries. Artists know how to survive

the relationships that you have with other people – it’s

because we have never been in the position of having a smooth

that one-to-one thing. Technology is important but I

journey. The whole landscape and economics of artists, galleries,

think that Brexit makes it restrictive for making contacts

and collectors is shifting.

and maintaining older contacts. The advantage of having a gallery is that you have an agent, so if I hadn’t subscribed to Artists’ Newsletter but I signed up

there are any issues the gallery will fight for their artist as well as

again and seemed to be the only person asking about

doing the administration, the shipping, and dealing directly with

Brexit. There has been a lot of talk about support for

the customer. So there is a lot for an artist to deal with [if they

musicians and actors trying to help them with touring

take all that on too]. And looking at Brexit – galleries will have

but there’s nothing about visual artists. Musicians have

staff to figure out these things, but, every independent artist will

higher profiles and good PR, they

have to figure out these

have got the musicians’ union

things for even a very basic

backing them so they have got a

show in Europe. We are in

voice. And we end up doing things

limbo at the moment, we

on our own to a certain extent.

are in a waiting room and we do not know what the

I haven’t looked into any implica-

outcome is going to be. Will Martin, Peckham Queer Art Boot Fair, Sunday 29 August 2021, photo: Brigit Sanchez Calles

tions for travelling abroad, to attend the opening, because there has been no travel due to the pandemic at the moment. I have got artist friends who used to do residencies abroad, and those opportunities might not be there now. I believe that you can stay in another country for up to 90 days but it is unclear. And would I need to have my own health insurance? There could be other extra costs too. There are extra layers of bureaucracy.

Michael Petry: Things are not helped by Brexit. RE: It has to do with economics. I think that the very wealthy will find ways, the less privileged may not. We are going to lose a lot of great artistic minds because of the lack of financial privilege. MOCA is looking forward to still working with artists abroad. For the

Most artists have artist friends from other countries

moment we are waiting for the government to give us the

whom they met at art-school and that opened up

information that we need.

networks in those countries – I would visit them and pop in to a gallery – it was easy. I picked up a lot of exhibi-

MP: What I will say about Arts Council England is that what

tions over the years like that. And then you have made

they did over the lockdown was to lobby the government to

those contacts, and things evolve from that. That has

allow them to give money directly to artists as opposed to

been taken away – especially for young artists.

organisations. They had two or three call-outs where artists could apply to get money to live on – so their time was spent

Changing landscape

on going through tens of thousands of applications, and I know people who got money. It was a really good thing. I give them a bit of a break at this point.

Roberto Ekholm: The collectors have also changed – the patron is dying out. Historically they would support an

RE: If they [Arts Council England] don’t have information

artist, or if you are a gallery you would have maybe five

[about Brexit] it might be that they are not getting any

collectors who every year made sure that the gallery

information. Ultimately it comes from the government and is

survived. Now I think that things are much more instant; it is not only about buying an image but they want to make profits quicker. Some collectors always

5 Entry point prices to encourage sales and generate income for artists unable to exhibit due to COVID-19 restrictions.

distributed to any public agency.

One idea that I toyed with was getting a studio in Germany, or hiring part of a friend’s studio as storage. I was

MP: Absolutely, they need to get their website organised. I think

really looking at different options – the tax office was

that everyone has this resignation that there is no point in [doing]

telling people it’s better to have an office in Europe – that’s

stuff at the moment – it’s just impossible. There is no ’norm’,

crazy but it’s true! Yes, it might be easier to go and stay in

everything is going to be case by case, until there is some kind of

Germany for two months and make the work there – I can’t

case law or some rules, and if you are doing anything now you are

do that but I was thinking about it. If everything is a

taking a big chance.

complete mess that could be the best way of keeping my practice going. I could be living in Portugal and sending

Derek Curtis: Things could work in another way where older

work to Germany with no problem because they are both

artists with European exhibition experience are more attractive

in the EU.

to London and UK galleries. The most important thing is to be

You can move all your stuff from the UK to another

professional and turn up! So it could well be that there are

country if you move there, so in theory I could move my

opportunities that were not there before. And that is kind of

studio and start from there. It is doable, and if you have

what Brexit is about – being more inward looking … and also

three or four galleries in Europe it is probably the best

making trade deals with other countries like Australia … so yeah

thing to do. It’s certainly an option. It’s a lot to think about!

I’ll spend a couple of grand to get a flight to Brisbane to see a I think that one thing that Brexit has done is that it has bizarrely united the EU. Derek Curtis, ’So long and thanks for all the fish’, gloss paint on aluminium, 60 x 40 cm, 2020

gallery!

I think that we are not as bad as America was under Trump but hopefully when Boris leaves we can get back to some kind of normality. These are interesting times – which from a creative perspective is good. But it’s hard to do satire! It’s going back to the 80s and 90s when there were lots of opportunities because there were things you were fighting against – which gave a lot of inspiration to artists and I think maybe that is happening again - hopefully! ■ Stuart Mayes spoke with Roberto Ekholm, Michael Petry, and Derek Curtis in June 2021. Roberto Ekholm, www.robertoekholm.com Michael Petry, www.michaelpetry.com MOCA London, www.moca.london Derek Curtis, www.derekcurtis.co.uk Stuart Mayes, www.stuartmayes.com

d Emille de Blanche an ov kim do Ev Nikolay

GHLOW is a Swedish-Russian music duo consisting of

GHLOW’s music is simultaneously filled with raw energy and

Emille de Blanche and Nikolay Evdokimov. The band was

carried on darker brooding currents. GHLOW are Supermarket

formed in 2017 following a chance encounter; although

2021’s guest band performing at the opening night, and for that

familiar with each other through moving in similar circles

reason we wanted to hear a bit more about their music and

in Stockholm’s underground art world, it was not until de

connection to the visual arts.

Blanche bumped into Evdokimov on her way to collect supplies for her latest sculptural work that they got talking.

Let’s start with your name. Why GHLOW?

Their ensuing conversations suggested that they were each

It is a word play. Combining the words glow-ghost-low ended up as

looking for a way to move on from their individual pasts as

GHLOW, representing something lingering in the shadows seemed

musicians, they got together and were quickly commis-

to reflect a bit of what we are about.

sioned to work on a film score. Congratulations on your new record release Slash and Burn. It is brimming with energy and listening to it I get senses of both doom and hope. What is the album about – what are you slashing and burning? Emille de Blanche: Thank you! Yeah, it has been such a huge thing for us. We have been trying to catch this cathartic energy that can grow out of frustration and boredom and turning it into this speeding vehicle of sound. Nikolay Evdokimov: We released ‘Slash and Burn’ in April 2021 on the underground label PNKSLM Recordings. It was at the same time great and bittersweet – releasing an album amidst the pandemic and not being able to follow up with live shows and touring. But even so the album has been very well received and we are looking forward to venues opening up again. In general are there any particular topics that you address in the lyrics, or is the rhythm more important? EdB: There is definitely a mixture of both the political and the personal. A lot of times the lyrics are built around just this one line or thought that I have caught somewhere that will not leave me. Is there any specific feeling that you want to convey to your listeners? NE: Just this explosion of energy and sound, like jumping into a pool of water.

GHLOW, 2021

EdB: Visuals for concerts have become such a big media package thing, I personally like it more scaled down, simplified, focusing on the sound and being present in that. What are your impressions of Stockholm’s art and music scenes, perhaps in comparison to other places where you lived? EdB: There are always exceptions but sometimes I am getting the impression that these are two completely different entities. Side by side, rarely crossing. For some reason I get the feeling that many people in Stockholm have chosen to be either into music or art, and that has always surprised me. I mean why not see a great exhibition and then go to a fantastic gig? Take it all. NE: I think what is sticking with me is the talent that people have, no matter the place, that has always inspired me. Supermarket works with independent art spaces, as opposed to commercial galleries – is there such a distinction in the music sector as well, or is it more blended together? EdB: For sure there are many independent clubs and venues around offering their niched taste to the crowds. We both come from an alternative punk background which has always been about a strong DIY approach to everything. You want that band to play in your hometown? Set it up yourself! I think that is still one of the most important lessons I have You are both also working as visual artists – Emille you work

ever learnt.

predominantly with sculpture and Nikolay your passion is tattoo art and also woodworking. Would you say that your art practices

What are your next plans?

in any way influences your music?

NE: We are looking forward to live shows and touring,

EdB: I mean, I think art influences everything I do, music and

sharing the experience of creating this massive wall of

sculpture, they are just different mediums. Sometimes the one

sound in front of an audience. Can’t wait to get back

suits the idea better than the other and while working on a new

to it! ■

sculpture ideas about the next tune can be formed at the same time. So yeah, I would say they influence each other. NE: Absolutely, I look at art as the continuation of the expression of self so it is impossible to separate your personality into several parts so therefore they affect each other. Speaking of visual art, do you connect your music with visual elements or is it ‘pure sound’ that you are striving for? I often wonder about the importance of visual presentation in music; what role it plays and whether it adds anything to the experience. What do you think? NE: It is a tricky thing, I think that light and light pulses can heighten the sensitivity to what goes on around you in a live setting. At the same time, full on visuals can be really disturbing elements during a gig.

GHLOW, 2021

GHLOW, Slash and Burn, PNKSLM Recordings 2021

Digital presence

Platforms Project

Interview with Platform Project’s founder and artistic director Artemis Potamianou.

Athens, Greece

Platforms Project has been on the artist-run scene since

What do you see as positives and negatives of holding an online

2013. Platforms Project aims to serve as a hub of creation, a

art fair, and how does it compare to the physical version? First of

all, the online presentation can last longer than the physical one

promoting interaction amongst platforms. The art fair’s

— fifteen instead of four days, so that more people can visit. Its

objective is to map artistic action as it is produced by

online nature meant that we could promote it differently, beyond

collective initiatives of artists seeking answers to artistic

the Greek media and in the international press. Moreover, the use

questions through so-called platforms. Over its nine years of

of the internet allowed 91 platforms and over 900 artists to

operation, it has established a world network of independent

promote the event in their own countries and attracted visitors

art groups and spaces that are in direct communication with

from 80 countries, which would not be feasible with a physical

one another. As one example several platforms have invited

exhibition. This makes it accessible to a world audience who would

other groups and integrated them into their presentations

not be able to see it otherwise. Also, both the show and the

this year.

parallel programme were digitised to create an archive, and this

Last year was the first time that the online version of the art fair was held – Platforms Project Net. The COVID-19

alone is a major change. On the other hand, it often happens that we find ourselves

pandemic has led Platforms Project to come up with a new

standing before an artwork that we have seen at another time, in

way of presenting, and following its success in 2020 it has

a different context, and it moves us in a different way. This is the

now been repeated this year.

magic of Art, its experiential nature, and it is what the online version lacks. A physical show also provides a meeting place for

Platforms Project has been present on the artist-run scene

artists, which can often lead to new friendships and collabora-

for quite some time. How has it changed throughout the

tions.

years – and have your views and goals transformed since

Why is the artist-run scene important to you? I am an artist/

you started the art fair? As founder and director of

artivist who has always been active on the independent scene. It

Platforms Project, over the last nine years I have seen and

is important to me that artists are given the resources and the

monitored the activities of the artist-run scene, while as an

opportunities to show their work without the mediation of

artist I have been a member of several groups and plat-

galleries or commercial concerns. This will enable them to

forms since 1998. In recent years, artists' platforms and

create work free of any censorship or market criteria. This is not

groups are much more networked than they were a decade

to say that participants in the Platforms Project will not have the

back. This may have been helped by art fairs such as

freedom and the opportunity to sell their works; but this will be

Supermarket and Platforms Project having set up their

their own decision, and that is crucial to me.

networks of exhibition spaces and exchange projects with

Do you see yourself continuing with both the digital and the

other platforms. It is also significant that they have earned

physical art fairs in the coming years? What is next? We

the appreciation of the general art scene, because they cre-

certainly plan to continue with both modes of presentation. The

ate projects that are more experimental, contemporary

COVID-19 pandemic has led Platforms Project not just to

and meaningful for our time. Many of the groups are

organise a web version but essentially to develop a digital

currently engaged in international activist and political

platform to connect artist groups from all over the world. The

issues which makes their work more topical than ever

Platforms Project NET 2020 was set up in the early days of the

before.

pandemic to become the first internet-based art fair in Europe,

The physical version of Platforms Project 2021 should

preceded only by Art Basel Hong Kong. People were not as

take place 21–24 October 2021, just one week after

familiar with internet art fairs as they are now, and we only

Supermarket 2021. What do you expect from taking the

had three weeks to design it. It is a useful tool for showcasing

digital exhibition into real life, and how do the prepara-

the activities of the artist-run scene internationally. At the

tions look? Do you expect all spaces that were shown

same time, however, the physical presence and presentation of

online to take part? Preparations for the physical

platforms promotes a more meaningful conversation among

exhibition never stopped in the two years we were

artists, and an experiential display of art. We have several

developing the online version. In addition to some

plans for the future and there are many ideas we have wished

platforms that were invited as guests in the online show, to

develop since 2020, but we are waiting to see how the pan-

we are now looking forward to hosting and finally

demic will pan out. Two aspects we will certainly want to

enjoying up close the other sixty platforms which make

pursue are artivism and cooperation with other art forms.

up the body of the physical exhibition. The event will be accompanied by a rich programme of lectures, performances and actions.

www.platformsproject.com

Spotlight on:

Artist-run art fairs A new gathering for artist-run art projects

Juxtapose Art Fair

Interview with the three directors of Juxtapose Art Fair, Pamela Grombacher, Jacob Juhl and Sasha-Rose Richter.

Aarhus, Denmark

Juxtapose Art Fair is a brand new non-commercial art fair that

By the time this interview is published, the very first

debuted in August 2021. The art fair is not focused on sales;

edition of Juxtapose Art Fair will have just finished.

instead the goal is to celebrate the diversity of the artist-run

What are your expectations and impressions so far? It

sector, and to support the artists in this sector. In 2021 the fair

has been a great experience working with all these

showcased 31 Danish and international artist-run projects that

artist-run initiatives over the past months/years. There is

are led and organised by visual artists and/or independent

a really cool DIY vibe in this whole sector – everyone has

curators. All kinds of projects were on view, including artist-run

been really helpful and supportive – the exhibitors, our

exhibition spaces, artist collectives, independent art publications,

partners and others who have been willing to share their

and other projects that fall outside the walls of museums and

experiences with us, like Supermarket Art Fair! We are

commercial galleries. By bringing very different artist-run projects together in one

really looking forward to seeing all these people in one room at the same time. We think there is going to be a

space, Juxtapose Art Fair highlights the unique profile of each

fabulous atmosphere.

initiative (hence the name: “juxtapose” means to place close

It is not so common that new art fairs for independent

together for contrasting effect). The public learns more about

galleries and projects pop up. What motivated you to

each initiative and the larger artist-run sector through a series of

take on this challenge? Two main things had our

talks, panel debates, and tours to local initiatives in Aarhus.

attention. We have seen a lot of artist-run initiatives

Altogether, Juxtapose Art Fair aims to strengthen the artist-run

appearing over the last few years and the national

sector and shines new light on this vital, yet often overlooked,

funding body in Denmark has been really great about

corner of the art world.

focusing on this part of the art world. Unfortunately we

have not witnessed a big surge of interest from the broader

example by planning performances, screenings, debates, and other

public in artist-run spaces, because they are not common

activities that will form a large part of our public program. Their

knowledge yet. We feel people are really missing out if they

enthusiasm was especially palpable in the months leading up to

are not finding these hidden gems.

the fair, when everyone was looking forward to travelling and

At the same time we are also seeing a lot of organisational

meeting new people after the relative isolation and quiet many of

innovation from artists who are thinking outside the box

us have experienced over the past year.

when it comes to how/what/where they show art, how they

COVID-19 has definitely made it a challenging time to start up a

self-organise, think about inclusion, and make stuff happen.

new fair, especially because we feel that gathering in-person is

This makes us very proud and curious at the same time. We

crucial for spreading awareness about the artist-run sector and

see the fair as an opportunity for artists working in this

strengthening the sector itself. But our exhibitors and partners

sector to learn from each other and share creative solutions,

have been super understanding and supportive, which has made

and hopefully to create more self-sustained ways of running

it way easier for us to navigate all the uncertainties and ever-

independent platforms.

changing circumstances around the pandemic.

How has it been to introduce a new art fair for artist-run

Why is the artist-run scene important to you? We are coming

initiatives, in terms of collaboration or competition with

from different backgrounds as the directoral group consists of

other similar fairs, funding opportunities, interest in

one artist (Jacob) and two curators (Sasha and Pam). Jacob was

participation from the initiatives, or the COVID-19

part of an artist-run space for a couple of years and really

situation? We have had nothing but goodwill from other

enjoyed the freedom of doing his own thing, and moving swiftly

people in the field, especially from other artist-run fairs.

outside of the constraints of big organisations and their 4-year

There seems to be a shared sense that when it comes to

planning schedules. But gaining visibility in this game is hard

visibility for the artist-run sector, more is better. More of

and the whole structure is very fragile, so Jacob and a colleague

these kinds of art fairs means more support for the artists,

(Lars Bang) wanted to just DO something to create a platform

more audience engagement, more appreciation for and

for artist-run spaces.

understanding of how the artist-run sector feeds into the

Sasha and Pam first became familiar with the artist-run

larger arts ecosystem. So even though there are not many

sector through their work at Aarhus Billedkunstcenter, which is

independent fairs out there, we do not feel like we are

a municipally-funded artist resource center that supports the

competing against them because we share many of the

professional artist community in Aarhus and Central Jutland. It

same goals and values. Everyone we have reached out to

quickly became obvious how artist-run galleries, studio

who could potentially see us as competition has received

collectives, and project spaces fill a vital role for local artists.

us with open arms; we are really in awe and very thankful

When they later started working as an independent curatorial

for that.

duo, Sasha and Pam organised many exhibitions, residencies,

Regarding funding it seems we slip in between two

and event programmes in artist-run spaces throughout

categories – a regular curated exhibition and a commercial

Aarhus, and experienced first-hand how the sector functions

art fair – which has made it a little hard to get support.

as a welcoming space for experimental projects.

Thankfully we got enough funding to do the fair this year

Do you already have plans for the second edition of Juxta-

and we are hoping that private foundations will follow the

pose Art Fair? What comes next? It is our plan to make

Danish Arts Foundation’s example and shift focus

Juxtapose Art Fair a biennale if the funding opportunities and

towards supporting the artist-run scene over the next few

sponsor agreements allow for another edition in two years.

years.

But remember, this is our first time! We have learnt so much

We have been in contact with our exhibitors for almost

over the past three years and will continue to learn and grow

a year now and we have felt a big commitment from them

and develop moving forward. Future editions of the fair may

and a great will to make this fair happen. They have

look pretty different based on our growing understanding of

really embraced our core concept and ran with the idea of

the artist-run sector, evolving needs of the exhibiting artists,

showcasing their organisations in different ways, for

and so forth. ■

www.juxtaposeartfair.com

ROLF HANSON RETROACTIVE

”Rolf Hanson är mästerligt monumental på Artipelag” Dagens Nyheter

”Kraftfullt borrande in i måleriets kärna” Svenska Dagbladet

Utställningen pågår fram till den 28 november 2021 artipelag.se | För öppettider se hemsida Artipelagstigen 1, Värmdö | 08 - 570 130 00

15-year reflection Pontus Raud Creative director, co-founder 1 Supermarket is an ongoing surprise to me.

Which year was the most memorable for you? I have fond memories of all the years, but 2007 is a little extra memorable for me. Maybe because everything was new and exciting. I tried to explain to all curious people what an artist-run art fair was. A process for me and everyone else who was involved in the art fair about form and identity.

What are the five things Supermarket has given you? Surprisingly fun encounters with artists from all parts of the world. • Very tired feet during those two weeks every year. • Quite a lot of problem-solving headaches. • But also a lot of laughter and nice trips to unexpected places. • And wonderful colleagues that have become dear friends!

How has the artist-run scene changed over the years? The status for the artist-run gallery has improved and more initiatives also receive support for their work.

5 What was the most awkward situation you experienced during the art fair? There have not been any awkward moments….well, Supermarket 2019, someone had written on the toilet with a pencil ‘What is freedom?’. Just below, someone has answered with a black marker pen ‘Jerking off at the city theater without complaint’. I remember I laughed straight out and then thought it was pretty awkward.

6 Summarise your Best Supermarket Day. Our first time at Kulturhuset (2010) was a maximum experience with a huge audience. It was so crowded that we had to shut down the escalators. Finally it was time for the big after-party at the bottom of Kulturhuset. The party venue was packed in a second and there was such a long line outside that my colleagues and I were not able to go inside to our own party. So we hit the local pub next door instead.

7 Do you miss anything from the previous Supermarket years? No, every year has its own unique set up with exhibitors from all parts of the world…they are the soul of the whole fair.

8 Have you ever gotten drunk at Supermarket? I always had such busy feet during all of the Supermarket art fairs that the alcohol has never made a total fool of me.

9 Supermarket will never get boring because of its vivid and chaotic atmosphere.

10 Describe Supermarket 2035. We have to say no to Elon Musk at the door because he took his space shuttle X to the fair. Only those who come by bicycle or walk are allowed to enter. We have 14 spinning stages with a seated audience of maximum 300 people at each stage. At the café you can buy surrogate coffee with sweetened algae. It is trendy to be a Besserwisser.... everyone knows their Hegel.

11 Can you write a short reflection on Supermarket? Like a lighthouse by a troubled sea.

1 Supermarket is like a teenage kid to me.

2 Which year was the most memorable for you? 2013 was one of the years we had expanded the most, on two entire floors in Kulturhuset. We had initiated several side-projects that made it possible to invite spaces from South Africa, Middle East, North Africa, post-Soviet states, and Western Balkans, so it was not only the fair with the largest number of exhibitors, there were so many unexpected and exciting participants.

3 What are the five things Supermarket has given you? Calcaneal spur • Plantar fasciitis • Piriformis syndrome • Carpal Cuniculum syndrome • Some grey hairs in my beard.

4 and contact between the artist-run initiatives. Belonging to a ‘stable’ of a commercial gallery is not the primary stepping stone to exhibitions at art institutions and biennials.

5 What was the most awkward situation you experienced during the art fair? In 2010, the first year in Kulturhuset, a large black box section of the fair got very warm from all the stage lighting. In this room some exhibitors decided to make a Swedish–Turkish Meatball Eating Contest. As you can imagine, the strong smell of meatballs combined with the heat was rather awkward in the context of an art fair.

6 Summarise your Best Supermarket Day. Every morning during Supermarket 2012 the Dutch exhibitors had placed a new type of sweet bread topping on my desk in the office: Muisjes, Gestampte muisjes, Vlokken, Hagel, Hagelslag.

7 Do you miss anything from the previous Supermarket years? I was thinking if we skipped any of our programmes, but we have only added new components to the fair!

8 Have you ever gotten drunk at Supermarket? One year there were unusually many exhibitors all of whom wanted me to taste their father’s/uncle’s/grandmother’s rakija/palenka/tsipouro and it was of course out of the question to be impolite and reject it.

9 Supermarket will never become a regular art fair because of the strength of focusing on other things than pure commercialism.

10 Describe Supermarket 2035. Although the three creative directors have become older, there are always new exhibitors – as usual the most interesting artists’ initiatives. Some of the

15-year reflection Andreas Ribbung Creative director, co-founder

How has the artist-run scene changed over the years? There is more international awareness

exhibitors are present in the form of completely realistic holograms or visible on everyone’s nanobiotechnical screens on the surface of the cornea.

11 Can you write a short reflection on Supermarket? After a few years we realised that the format of an art fair is the only sustainable way to make such a large and international exhibition. We create a framework and each exhibitor produces their small part.

5-year reflection Alice Máselníková Creative director

1 Supermarket will never again mean just a place to get groceries to me.

2 Which year was the most memorable for you? I started to work with Supermarket in 2016 and the first year was a whirlwind of impressions – too much and too fast to remember it all. In a strange parallel, the past two-or-so years, 2019–21 feel like one long vacuum of constant planning and replanning, a bizarre stretch of time that must inevitably make Supermarket 2021 the most memorable edition ever.

3 What are the five things Supermarket has given you? Large network of amazing art people around the world. • Crazy work schedule. • More patience. • Subject material for a book ‘101 Ways to Disagree With Your Colleagues On Basically Everything and All Still Come Up With Wonderful Solutions & A Heart Filled With Love’ • Very good friends.

4 How has the artist-run scene changed over the years? I would like to have a longer time-span to provide A Deep and Complex Assessment, so ask me again in ten years. But how it has changed for me is that in comparison to five or ten years ago I now feel like a very active part of this whole buzzing international artist-run scene. It has given me a sense of belonging and I have grown to love it with all its strengths and weaknesses.

5 What was the most awkward situation you experienced during the art fair? I have quite an issue remembering people – sadly not only their names but also faces. This has led to numerous and never-ending situations of absolute obliviousness on my side of having already met those people I am just introducing myself to and asking them who they are and what they do, and to the development of a code system with my colleagues to alert me of my memory shortcomings.

6 Summarise your Best Supermarket Day. Oh, I remember that day as if it were yesterday. It was a smooth start from the very morning without any technical issues, no disagreements and misunderstandings, no missing exhibitors or last minute set ups, the internet was working and everyone knew the password because they actually read the Exhibitors’ newsletter no.189 that I had sent out the week prior. The press conference was spotless, articles praising the fair were pouring in, our press officer proudly handed a flower to each of us. A day so smooth that we were basically just sailing around with a glass of wine in one hand, beaming out a big smile and a jovial word here and there, having time to properly meet everyone and have many in-depth conversations on art. Yes, yes, what a day.

7 Do you miss anything from the previous Supermarket years? I miss my mind being more lightweight and less burdened by responsibility. Also, the big parties and dancing.

8 Have you ever gotten drunk at Supermarket? Come on. I never get drunk.

9 Supermarket will never be ‘just an art fair’ because of its broad programme of talks, meetings and performances, the focus on connecting people, and above all because of the unceasing passion of the many wonderful people working with it.

10 Describe Supermarket 2035. In the crisp morning dew, still slightly lazy sparkly stardust surrounds our permanent venue by the waterfront where we have studio spaces and host small events all-year round, aside from the annual art fair during late hot sunny spring. The large sign says: Supermarket 2035 and is seemingly embossed in pure gold - a donation recently made by a passionate art collector. As the magnificent building emerges from the sea fog you see thousands of people flocking in a mad crowd; people of all backgrounds, professions and ages, shouting ‘Open up, it is already 11am, let us in so that we can see artist-run initiatives from around the world and support the artist-run scene!’ Suddenly music of unheard beauty starts to play and with it the gate bursts open. Strange translucent hybrid art is pouring out of the entrance like a waterfall, softly landing upon the heads of people who catch it with their little hands and with eyes wide open they eagerly run towards what further wonders await them on the inside.

11 Can you write a short reflection on Supermarket? Working with Supermarket has never been an easy job. It is a constant struggle with time and time-management, with different opinions, finances, finding a venue every year and always needing to believe that it is worth doing and never having enough time for thorough reflection. But it is worth it, very much so. However exhausted by the time the art fair week kicks off, I get this feeling of Art High, finally meeting all the people who were for months just a row of emails, seeing their way of interacting with each other, creating new networks, and presenting their unique takes on what artist-run means. And, most importantly, all this happening among all the art displayed and scattered around. I feel privileged that I spent the past five years of my life with this special crowd. It is a mixture of feeling old and withered because of it, but ecstatic and doing something meaningful. ■

Platforms Project

Supermarket Art Magazine #11

Articles inside

Tehran: A Shapeshifter Foad Alijani

Exhibitors at Minimarket and Supermarket 2006–2020

Room of one’s own C-print: Ashik Zaman and Edith Ekström

Another year on ... and still waiting Stuart Mayes

Interview with GHLOW Emille de Blanche and Nikolay Evdokimov

Supermarket team 2021

Editorial Alice Máselníková

Transforming bureaucracy into systems of care textur magazine