Royal Institute of Art, Stockholm, Sweden

Rutiga Golvet and the program series E2-E4

“A vast Network of Pipes”, January 25, 2018. Photo: Åsa Andersson

 

Welcome to Rutiga Golvet at the Royal Institute of Art for the third spring session of the E2-E4 program, on Thursday, February 22, 5pm:

 

The Exhibition as Ether (part 2)

Is the exhibition a medium? That is, can it speak with ghosts?

In the sprawling tradition that stretches from the otherworldly displays of Renaissance memory palaces, to the spectral logic of Aby Warburg’s Atlas arrangements, and beyond, exhibitions have served not only as vehicles for the presentation of images and signs, but as organs for their resuscitation, and as hosts for their afterlives. During this session, we will discuss the exhibition as a medium by focusing on the ghostly agency of images, the anarchic recurrence of forms, and the politics of spiritualism.

Lina Selander & Oscar Mangione, ”Why the Emperor Hated Lazarus”

Account regarding the curved space-time of the exhibition room; the twisted phantom movement, whirls and undercurrents in and around the images (a wide-ranging concept), inwardly and outwardly curved; the image as source of light among other sources of light; darkness; darkness in light; unhuman passages; miming; the possibility of the afterlife of the image, its great importance, and what forms it could take; what leakage would mean in the exhibition room, both as localized, visible and readable, and general, and enclosing; Sirens live here; Howard Carter breaks through, into the exhibition room; ”Can you see anything?”, Lord Carnarvon asks, and Carter replies: ”Yes, wonderful things!”

Lars Bang Larsen, “Bringing Back the Fighting Spirit: 1848 and the Spiritualist Revolution”

Contrary to the Marxist prejudice against Spiritualism as a parlour game by which people compensated for the defeat in the revolutions of 1848, Spiritualism also had an activist and subversive side. The Spiritualist ‘reform program’ was intersectional avant la lettre: anti-church, anti-patriarchal, anti-slavery, anti-imperialist, and of course, anti-death. In this talk I will give a brief outline of how spirit mediums and their followers mapped out a new political terrain on which they performed their ambiguous connection with The Other Side — including an example or two of the visual art that came out of it, and the trouble with curating such art.

 

About E2-E4

E2-E4 is the name of the most common opening move in chess, the one that sets the game in motion. E2-E4 is also the name of a program for theoretical activities, exhibitions, and publications at the Royal Institute of Art, Stockholm. “Theory” is here conceived not as academic superstructure or epistemic authority, but as orientation, as that first grasp of our own situation, and of its location in a wider system, network, or totality, which may allow us to begin, to go from the confusion of undefined possibility, to the provisional determination of practice. The program explores the use values of the exhibition as a critical information system, in the service of education, aesthetic experience, and public dissemination.

The E2-E4 program is created by guest professors Stefanie Hessler, Lars Bang Larsen, and Kim West.

 

Open Programme:

March 9, 5pm:
Jeff Kinkle and Alberto Toscano: Money That Grows

Opening: March 22, 5pm:
Brody Condon: TBA

April 19, 5pm:
Ane Hjort Guttu: TBA

May 3, 5pm:
Diedrich Diederichsen et al: Trance Dance

May 17, 5pm:
Felicity Scott: For a Technology in the Service of the People

May 31, 5pm:
Isabella Rjeille, Diego González, and Amelia Venturino Arias: Next Move

Welcome!

Var: Flaggmansvägen 1, Rutiga golvet
När: Every other Thursday at 17.00
The arrangement is free of charge

 

 


The meeting place, Rutiga golvet, aims to link teaching in art theory, publication and exhibition production, seminars and the construction of a micro library. Rutiga golvet should be a place where theory meets practice.

What happens on Rutiga golvet will interact with the Institute’s education and the student’s work in order to provide an opportunity for a meeting between the theory and practice of art.

The exact place of Rutiga golvet was in the early 70’s the location of the legendary experimental department of Moderna museet where key exhibitions for the Swedish alternative movement where carried out.



	

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