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Conference programme
* Conference programme
SCHEDULE
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Times are tbc at the moment, please check back closer to the conference.
3 pm:
Mountain talk with Anne Beate Hovind and Flóra Gadó. We start walking from Fløibanen’s Upper Station at 3 pm sharp. The walk is 800 meters, and the conversation will be held at Skomakerstuen4.30 pm:
Arrival and welcome drink at Fløien Folkerestaurant5 pm:
Welcome by Anne Szefer Karlsen
Word of the day by Neo Sinoxolo Musangi
Artistic position by Damir Avdagić
Keynote lecture by Zdenka Badovinac
Q&A conducted by Martin Caiger-Smith8 pm:
Complimentary sit-down dinner at Bergen Kjøtt.
Doors open at 7 pm -
Conference will be at Bergen Kjøtt
9.30 am:
Welcome by Anne Szefer Karlsen
Artistic position by Gladys Kalichini
Word of the day by Neo Sinoxolo MusangiMorning panel Fermentation as Practice, Method and Metaphor with Carol Yinghua Lu, Frances Morris, Juan Pablo Pacheco Bejarano, Michelle Yenho Hyun, Silja Leifsdottir. Moderated by Anne Szefer Karlsen
1–2 pm:
Complimentary lunch2–4 pm:
Afternoon panel (title tbc) with Cis O’Boyle/Rachel Anderson (Idle Women), Eszter Szakács, Federica Baeza, Myriam Amroun/Natasha Marie Llorens. Moderated by SyafiatudinaBreak to relocate to Bergen Kunsthall
5.30 pm:
Guided tour in the Festival Exhibition 2025: Moon Bag by Tori Wrånes and Rindon Johnson’s exhibition Find Spot at Bergen Kunsthall7 pm:
Complimentary dinner served at Landmark.
Doors open at 6pm. -
Conference will be at Cornerteateret
10.00 am:
Welcome by Anne Szefer Karlsen
Artistic position by Ciara Phillips
Word of the day by Neo Sinoxolo MusangiMorning panel Cross Cultural Curatorial Labour with Manuela Moscoso, María Berríos, Patrick Flores, Sabina Sabolović. Moderated by Jaleesa Johnston and MackMcFarland
1–2 pm:
Complimentary lunch2–4/4.30 pm:
Launch of the research report Formidling som fagfelt (Mediation as discipline) by Daniela Ramos Arias and Anne Szefer KarlsenAfternoon panel (title tbc) with Clara Balaguer, Mônica Hoff and Olivier Marboeuf. Convened and moderated by Julia Moranderia Arrizabalaga
Dinner is self organised, and everyone is invited to Bergen Assembly in the evening for an informal gathering with sounds by Karolin Tampere.
Doors open at 7 pm -
10 am–4 pm
The conference will end with a workshop at Bergen Kunsthall led by Daniela Ramos Arias together with a group of professionals whose practice flow through the curatorial and educational spheres.Complimentary lunch.
To read more about the programme please see here
Contributors
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Contributors *
Anne Beate Hovind
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WHAT IS THE PERSON CONTRIBUTING WITH
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Anne Beate Hovind is a Norwegian urban developer, curator, and cultural producer.
She is the producer and curator of two globally recognized projects: Future Library (2014–2114) in Oslo, a century-long public artwork by Scottish artist Katie Paterson, and Losæter / Flatbread Society, a social sculpture by the international collective Futurefarmers. Hovind’s portfolio includes the establishment of Kunsthall Oslo, art programs at Akershus University Hospital and the new hospital in Drammen, as well as public art commissions at Oslo and Bergen Airports—most notably Bergen? by Ragnar Kjartansson. She holds board positions in Sparebankstiftelsen DNB, Norway’s most influential cultural foundations, and Flytårnet Fornebu, a major urban redevelopment initiative transforming a former airport into a vibrant cultural and creative district. She currently serves on several boards and holds the position of Associate Professor at OsloMet’s Faculty of Technology, Art and Design, where she contributes to research and teaching in aesthetics and public space. In 2018, she was honored with the Oslo Municipality’s Artist Award for her pioneering work in art and urban development.
Image by: Signe Dons
Zdenka Badovinac
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Zdenka Badovinac is invited to give the keynote lecture
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Zdenka Badovinac has served since 1993 to 2020 as Director of the Moderna galerija in Ljubljana (since 2011 extended to include Contemporary Art Metelkova).). From 2022 to 2023 she was Director of the Museum of Contemporary Art in Zagreb. She currently works as an independent curator and author.
In her work, Badovinac deals with historicization of Eastern European art, urgencies of contemporary art in an international world and situated modes of cultural production. She initiated the first Eastern European art collection, Arteast 2000+ at Moderna galerija, Ljubljana. She curated numerous exhibitions of international relevance, among them Body and the East—From the 1960s to the Present (1998), NSK fromKapital to Capital: Neue Slowenische Kunst – The Event of the Final Decade of Yugoslavia, Moderna galerija, 2015 Sites of Sustainability-Pavilions, Manifestos and Crypts, Hello World. Revising a Collection, Hamburger Bahnhof – Museum für Gegenwart – Berlin, 2017; Bigger Than Myself: Heroic Voices from Ex-Yugoslavia, MAXXI, Rome, 2021, Sanja Iveković, Works of Heart, Kunsthalle Vienna (2022), MSU, Zagreb (2023); Freeing the Voices, Kunstahaus Graz (2025).Her most recent books are Unannounced Voices: Curatorial Practice and Changing Institutions (Sternberg Press / Thoughts on Curating), 2022 and Comradeship: Curating, Art, and Politics in Post-Socialist Europe (Independent Curators International (ICI), New York, 2019. Founding member of L'Internationale, a confederation of seven modern and contemporary European art institutions. President of CIMAM, International Committee for Museums and Collections of Modern Art, 2010–13. In 2020 Zdenka Badovinac receives the Igor Zabel Award for Culture and Theory.
Image by: Borut Koranic
Juan Pablo
Pacheco Bejarano
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Juan Pablo Pacheco Bejarano (1991) is a Colombian artist, writer, and educator submerged in the encounter between ecology, technology and spirituality. He has developed audiovisual, edible, editorial and pedagogical projects, often in collaboration with other agents, that amplify sensitive technologies beyond extraction. He has an extensive and expansive research on water ecologies, digital infrastructures, telepathy, and fermentation. Juan Pablo has worked with the Institute for Postnatural Studies, Espacio Odeón, Plataforma Bogotá, and Garage School. He has taught at the Javeriana and Andes universities in Colombia, the Royal Academy of Arts in The Hague, and Elisava Madrid. His work has been presented at venues including the Reina Sofía Museum (Madrid), Manifesta 15 (Barcelona), Jan van Eyck Academie (Maastricht), La MaMa (New York), Kunstenfestivaldesarts (Brussels), ISEA (Barcelona), Transmediale (Berlin), Galería Santa Fe (Bogotá), and the Carrillo Gil Museum (Mexico City), among others.
Manuela Moscoso
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Manuela Moscoso (she/her) is a curator and critical producer. She is the inaugural Executive and Artistic Director of CARA (Center for Art Research and Alliances) in New York City and the curator of the 2ª Bienal das Amazônias (2025) in Belém. Her practice explores artmaking as a transformative process shaped by embodiment, porosity, kinship, and memory, often informed by non-Western epistemologies and situated forms of knowledge.
Moscoso was curator of the 2021 Liverpool Biennial, The Stomach and the Port, and previously served as Senior Curator at Museo Tamayo in Mexico City. She co-founded Zarigüeya, a curatorial initiative in dialogue with the pre-Columbian collection of the Museo Casa del Alabado (Quito), and co-directed CAPACETE in Rio de Janeiro, where she helped shape experimental programs grounded in pedagogy, collaboration, and context-responsive research.
She has lived and worked across Latin America, Europe, and the United States, developing a practice anchored in care, complexity, and the potential of art to reimagine relations between people, geographies, and ways of knowing. Her curatorial, editorial, and research work has taken place at institutions such as the Queens Museum (New York), Museo de Arte Moderno de Medellín (Colombia), Universidad Di Tella (Argentina), Fundación Miró (Spain), RedCat (Los Angeles), Museo Artium (Vitoria), and CA2M (Madrid).
Moscoso’s approach is grounded in feminist methodologies and practices that question dominant frameworks of knowledge and authority. She understands curating as a material, affective, and relational process—one committed to listening, collaboration, and the support of artistic practices that reconfigure cultural narratives and institutional structures.
Image by Victoria Tomaschko
Olivier
Marboeuf
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Olivier Marboeuf (France, 1971) is a writer, storyteller, artist, film producer and independent curator from Guadeloupe (French Caribbean). Today, he is one of the leading figures in decolonial thought in France. In 1992, with author Yvan Alagbé, he founded the experimental comics publisher AMOK (www.fremok.org), then became artistic director of the Espace Khiasma art center in Les Lilas, a northeastern outskirts of Paris (www.khiasma.net) from 2004 to 2018.
He is currently a member of the RAYO inter-Caribbean research program in artistic pedagogy, of the artistic council of the Akademie der Künste der Welt in Cologne (Germany), and in 2019 was hosted by Les Ateliers Médicis for a writing residency program in Clichy-Montfermeil (France). For the 2023/2024 academic year, he received the Banister Fletcher Global Fellowship, from the University of London Institute in Paris (ULIP), where he initiated a research around the archive of Caribbean diasporic presences in Paris and London.
Olivier Marboeuf has published numerous texts, articles and books, from theoretical essays to poetry, translated into several languages, and regularly gives lectures on his work and research.
See full bibliography here: https://olivier-marboeuf.com/bibliography/
Image by Michael Patten
Eva
Rowson
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Eva Rowson is Managing Director of Bergen Kjøtt, one of Norway´s largest non-profit cultural centers for music production and an award-winning venue for accessibility and inclusion, home to 28 music studios and 2 interdisciplinary stages. Eva is one of the co-founders of “GRIP”, Norway’s only technical training program aimed at empowering more women, non-binary and transgender people as sound and light technicians.
Eva is a board member of AKKS Norway that works for gender equality and nurturing new talent in the Norwegian music scene and is a participant in the 2025 Keychange Talent Leadership Programme for women and gender-diverse creatives leading change in the music industry. She has led the course “Collaborative Practices” at the Faculty of Art, University of Bergen since 2019.Image by Runar Gasterud
Miriam
Levi
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Miriam Levi (she/her) is a research-based visual artist and documentation photographer. She holds a bachelor from Edinburgh Napier University and a master's from The Art Acadamy in Bergen. Through the field of expanded photography and writing she researches human-non human relationships in the Anthropocene.
Eszter
Szakács
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Eszter Szakács is a curator and researcher. Her practice is based on collaboration, connecting networks, and building infrastructures in the arts, locally and interlocally. Szakács is the 2025 Curator of the Guest Programme of the 41st EVA International – Ireland’s Biennial of Contemporary Art. She is currently completing her PhD thesis at ASCA of the University of Amsterdam, in the framework of the project IMAGINART—Imagining Institutions Otherwise: Art, Politics, and State Transformation. She is a Tutorial Collective member of the temporary master's Lumbung Practice (2024–2026) at Sandberg Instituut, in collaboration with de Appel (Curatorial Programme), and Gudskul (Collective Study Program).
Together with Naeem Mohaiemen, Szakács co-edited the anthology Solidarity Must Be Defended(2023). She curated the solo and research exhibition Dóra Maurer–SUMUS–We Are Together at de Appel, Amsterdam in 2023. Szakács was part of the curatorial team of the grassroots art initiative OFF-Biennale Budapest, who were lumbung members and participants at documenta fifteen in 2022. In the framework of OFF-Biennale’s participation at documenta fifteen Szakács co-curated with Daniel Baker, Ethel Brooks, Tímea Junghaus, Hajnalka Somogyi, Katalin Székely, and Miguel Ángel Vargas the exhibition One Day We Shall Celebrate Again: RomaMoMA at documenta fifteen. She was also a curatorial team member in OFF-Biennale’s second (2017) and third edition (2021), and a member of the East Europe Biennial Alliance team that collectively curated the Kyiv Biennial in 2021. Between 2011 and 2020, she worked as curator and editor at tranzit/hu, Budapest. Szakács completed her MA Curatorial Practice at the University of Bergen, Norway (2017–2019).
Image by: Fransisca Angela
Syafiatudina
(Dina)
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Syafiatudina is a community organizer, writer, and curator—in this exact order of priority—based in Yogyakarta, Indonesia. Her practice is shaped by her involvement in arts organizations and her experience organizing various types of gatherings, from exhibitions, discussions to meetings, picnics, and protests. She learns a lot from/with her colleagues at Kunci Study Forum & Collective. Among her ongoing challenges is striking a balance between action and reflection—doing things and writing about them.
Image by: Kafana Fityah Kayla Taqiyya
Myriam
Amroun
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Myriam Amroun is an independent curator based in Algiers focused on the conditions for public-facing artistic production in Algeria. She is the co-founded and former artistic director of rhizome, an independent project space for contemporary art located in the center of Algiers. Amroun has worked with El Medreb, the DURAR project at the intersection of art and traditional crafts, and with DJART, a research initiative on urban public space. She has taken part in the Mobile Lab hosted by documenta15, served as a mentor for the Arab Fund for Arts and Culture’s Arts and Culture Entrepreneurship program, and undertaken residencies at the Cité des Arts in Paris and the Nordic Artists' Association.
Andrea
De Pascual
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Andrea De Pascual is a pedagogue with a master 's degree in Art Education from NYU Steinhardt School of Culture, Education, and Human Development through a Fulbright Scholarship. She is one of three coordinators at Invisible Pedagogies (pedagogiasinvisibles.es). A collective with more than 12 years of experience in art+education initiatives that articulatres its projects through 2 fundamental lines of work: Art and School and Cultural Mediation, being research and training transversal areas to both.
Her work focuses on the gaps and the tensions between school and cultural spaces, artists and teachers, art and education and learning and active ignorance. She is co-author with David Lanau of the book "Art is a way of doing (not a thing that is done)".
Team ->
Ruby Eleftheriotis
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Ruby Eleftheriotis (b.1996) is a Greek/Scottish curator and writer currently based in Bergen, Norway.
In my curatorial practice, I explore liminal spaces and porosity within our environments through site-embedded readings of place. I’m interested in how we weave time together, how to inhabit spaces together, and how we can embrace methods of collective learning from a point of curiosity.
Achronological, speculative, hidden and alternative histories and myths of spatial experience lie at the core of my practice. I lean heavily on feminist methodologies of care, collaboration, citation and continuation. I am particularly focused on processes beyond exhibition-making, that instead contain messiness, failure, possibilities and unfinished conversations.
I currently co-run aerial - a small studio and project space in Bergen - that focuses on faciliating socially-engaged practices and programming around methods of gathering and hospitality.
I am a co-founder of Those Who Possess Dirt - a research collaborative dedicated to untangling the possibilities of more-than-human kinships, co-learning and co-existence.
Flóra
Gadó
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More information about this contribution will be published closer to the conference dates.
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Flóra Gadó (b. 1989, Hungary) is a curator, researcher and art critic based in Budapest. She has been curator at the municipal contemporary art center Budapest Gallery between 2018-2025 and was in charge of multiple exhibitions, public programs as well as organizing the 1st Public Art Biennial, Sidewalk in Budapest (2023). She holds a PhD in Film, Media & Cultural Studies from Eötvös Loránd University, Budapest (2021), and graduated in Spring 2023 from the MA Curatorial Practice Program, University of Bergen, Norway. She has curated various group and solo exhibitions for example at MeetFactory(Prague), Július Koller Society and tranzit.sk (Bratislava), TIC Gallery (Brno), SOPA (Kosice), Trafó Gallery / Trafó House of Contemporary Art, OFF-Biennale Budapest (Budapest) and Kunsthalle Exnergasse (Vienna). Her curatorial residencies include Generator (Rennes), MeetFactory (Prague), Brno House of Arts (Brno), KAI (Tallinn), MondriaanFonds (Amsterdam) and Frame Finland (Helsinki). She has been a lecturer at the Faculty of Art & Design at Budapest Metropolitan University since 2019 and was an advisor for the Curatorial Faculty of the University of Fine Art, Budapest. Between 2015-2020 she was the board member and later the vice-president of the artist-run space Studio of Young Artist’ Association. Her writing has appeared internationally in magazines such as Magazyn RTV, Flash Art – Czech and Slovak Edition, Kajet Journal, Kontur Magazine as well as arportal.hu, Műértő and Artmagazin in Hungary. In 2019 she was awarded with the prestigious Ernő Kállay Award for art historians and both in 2023 and 2024 her projects were nominated for the AICA Hungary Prize in best solo and group exhibition category.
Martin
Caiger-Smith
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Following the keynote lecture, Martin will engage Zdenka in a Q&A session.
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Professor Martin Caiger-Smith was Head of the MA Programme Curating the Art Museum at the Courtauld Institute of Art in London from 2007-2024. The MA is a twelve-month Programme for students with a broad range of interests, with close links to museums and galleries across London, the UK and Europe. He worked first at the Photographers’ Gallery and then at the Hayward Gallery in London, as Head of Exhibitions, from 1996, and Acting Director, 2005/6. While at the Hayward he curated and organised a wide range of exhibitions, and oversaw the shaping and delivery of a broad programme of exhibitions at the Hayward, many of which showed abroad, and National Touring Exhibitions in the UK. These include (at the Hayward) Magritte, 1992; Julian Opie, 1993; Roger Hilton, 1993; The Epic & the Everyday: Contemporary Photographic Art, 1994; Yves Klein, 1995; Art and Power: Europe under the Dictators, 1995; Francis Bacon: The Human Body, 1998; Spectacular Bodies: The Human Body in Art and Science from Leonardo to Now, 2000; Saved! 100 Years of the National Art Collections Fund, 2003; Roy Lichtenstein, 2004, and Dan Flavin, 2006.
He studied History and History of Art at Cambridge, and has an MA from Cambridge and the Courtauld Institute. His interests include modern and contemporary museums and galleries and curatorship, and the modern and recent history of exhibitions and display. He is a consultant on art and exhibition projects, and writes and lectures on contemporary art, photography and exhibitions. His most recent book, Antony Gormley, was published by Rizzoli New York in 2017, and he curated the exhibition Antony Gormley at the Royal Academy, London, in 2019. In 2012 he curated an exhibition of British photography since 1930, Observers, for the British Council which travelled to Brazil. From 2010-20 he was Programme Advisor for the Winter Exhibition Programme at Two Temple Place, London.
Michelle Yeonho Hyun
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Michelle Yeonho Hyun makes exhibitions and events with artists and others. She sometimes writes and talks about art, among other things. She is the founding director and curator of the Institute of Contemporary Arts (ICA) at NYU Shanghai since 2018. She worked previously as a curator for Shanghai Project (2015-16), Gwangju Biennale (2014), and the University of California San Diego (2012-14). She has also organized projects for the New Museum (New York, 2012), Creative Time (New York, 2011), and What, How & for Whom (WHW) (Zagreb, 2010).
María
Berríos
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María Berríos (MACBA) is a sociologist, editor and curator from Chile, her work focuses on contemporary art, politics, and culture in Latin America, and beyond, with special interest in collective cultural experiments and Third World movements between the 1960s and 1970s. She is co-founder of the editorial collective vaticanochico and has been a guest professor at multiple academic, cultural and self-organized institutions in Europe and Latin America. Among her recent curatorial projects are The Crack Begins Within. 11th Berlin Biennale (2020-21) curated together with Renata Cervetto, Agustín Pérez Rubio and Lisette Lagnado, and In the Jungle There Is Much to Do, Museo de la Solidaridad Salvador Allende (2022-2023). She is currently Director of Curatorial Programmes and Research at MACBA.
Federica
Baeza
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Federica Baeza is a trans woman, researcher, and curator specialized in contemporary art. She was Director of the Palais de Glace Museum or the Argentine National Palace of the Arts supported by Argentina’s National Ministry of Culture. She is Associate Professor of Art History and Curatorial Studies at Argentina’s National University of the Arts (Buenos Aires) where she teaches undergraduate and graduate courses in contemporary art, critical theory, and curation. Previously she was the Director of the Degree in Curatorial Arts and the University Extension area in the Trans-Departmental Area of Arts Criticism of the National University of the Arts (UNA). She received her doctoral and undergraduate degrees in Art History & Theory from the Department of Art History at the University of Buenos Aires (UBA). Baeza is the recipient of major national fellowships, and her work has been supported by the National Arts Foundation (FNA), the National Scientific and Technical Research Council (CONICET), and the University of Buenos Aires. As a curator, Baeza has organized major exhibitions and executed museum programming in Argentina and across Latin America. Baeza is the author and co-author of numerous monographs and peer-reviewed articles on visual arts. In her role as a curator and art historian, Baeza has also published multiple exhibition catalogs and articles on contemporary art in specialized magazines.
Ciara
Phillips
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Ciara Phillips is a Canadian/Irish artist based in Bergen, Norway, since 2022. She studied Fine Art at Queen's University (BFA, Hons.) in Kingston, Canada, and at Glasgow School of Art (MFA) before establishing her studio in Glasgow in 2004.
Phillips' process-lead approach to working with print, has gained her international recognition for both her individual and collaborative work in the field of contemporary art. She has worked as an educator and as an artist in community contexts since the late 1990s, and her long-term artwork, Workshop (2010 - ) - which engages people of all ages and backgrounds in thinking-through-making with her - has been exhibited widely in public institutions. Phillips is the initiator of several collaborative projects including: Poster Club (2010-17); Press Room (2019); Åpent Trykkeri (2018 - 2019) and Good Bad Press (2025 - ). Her work has been exhibited at: The Irish Museum of Modern Art, Dublin; TATE Britain, London; Benaki Museum, Athens; Kunsthall Stavanger and at the Museum of Contemporary Art Australia as part of the Sydney Biennale. In 2014, Phillips was one of four nominees for the Turner Prize, the UK's most publicised art award, and in 2020 she received the world's leading award for graphic art, The Queen Sonja Print Award. For her work with Anne Crilly, Sara Greavu and Margo Harkin on Derry Film and Video Workshop, she was jointly awarded Irish Women of the Year: Arts & Design in 2024.
She is currently Professor in Fine Art at The Art Academy: Institute of Contemporary Art at the University of Bergen.
Anne
Szefer Karlsen
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Initator, organiser and moderator
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Anne Szefer Karlsen is a curator, writer, editor and educator who has a strong interest in artistic and curatorial collaborations as well as developing the language that surrounds art productions of today – linguistically, digitally, spatially and structurally.
They is Professor of Curatorial Practice and currently programme director for MA Curatorial Practice at the Faculty of Fine Art, Music and Design, University of Bergen (2015–2027), and was Senior Adviser and Head of Research for Bergen Assembly (2018–2020) and Director of Hordaland Art Centre in Bergen, Norway (2008–2014).
Curatorial and editorial projects by Szefer Karlsen will generally host an international roster of artists and other contributors. Their curatorial practice spans museum exhibitions, biennials, group and solo exhibitions addressing broad audiences – as well as discursive events, gathering communities of professionals together.
Gladys
Kalichini
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Before the conference day starts, there will be a performance by Gladys
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Gladys Kalichini is a contemporary visual artist and scholar from Lusaka, Zambia. Her work centers around notions of erasure, memory, and representations and visibilities of women in colonial resistance histories. Her multi-layered installations draw largely from research material and archival photographs of women in independence struggles. Kalichini’s work challenges dominant and nationalist narratives that have historically erased women’s contributions to history and political change.
Kalichini has a Master of Fine Art and PhD in Art History and Visual Culture from Rhodes University in Grahamstown, South Africa. Exhibitions include "Seekers, Seers, Soothsayers" (2023) at the Zeitz MOCAA in Cape Town, South Africa; "Bamako Encounters” at the African Biennale of Photography in Bamako, Mali; "Geographies of Imagination: My Language is a Dedouin Thief” at the Kochi Biennale, India; and "For the Phoenix To Find Its Form In Us and On Restitution, Rehabilitation and Reparation” at SAVVY Contemporary in Berlin, Germany, among others. Kalichini is a member of the "Arts of Africa and Global Souths" research programme, supported by the Andrew. W. Mellon foundation and the National Research Fund. She is the 2022 main prize winner for the Henrike Grohs Art Award and a recipient of the Prince Claus Seed Award. She exhibited her work at Künstlerhaus Bethanien international studio programme in Berlin, Germany in 2019-2020.
Silja
Leifsdottir
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Silja Leifsdottir (b. 1984, Reykjavik/Bodø) is currently employed as the exhibition curator at Bergen Kunsthall. From 2017-2022 Leifsdottir worked as a curator for the Norwegian Sculptors Society in Oslo (Norsk Billedhoggerforening). From 2019-2022 she was chair on the board of The Norwegian Association of Curators and she is also the co-founder of SKREID publishing, an independent publisher of Nordic photobooks. Leifsdottir was a co-curator at the artist-run gallery Holodeck in Oslo for two years (2012-2013) together with Lina Norell and Kjersti Solbakken and is the co-founder and director of Oslo Art Guide. In addition to her own practice, she has worked as a coordinator at Fotogalleriet in Oslo (2011-2017). While running Holodeck Silja Leifsdottir initiated Grønland Gallery Weekend (2013) which later transitioned into Oslo Art Weekend (2014), now also organized by Oslo Art Guide. Silja studied at the Fine Art Photography department at The Glasgow School of Art (2005-2008) and Curatorial Practice at Bergen Academy of Art and Design (2015-2017).
Patrick
Flores
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Patrick Flores is Chief Curator, National Gallery Singapore and Professor, University of the Philippines. He is the Director of the Philippine Contemporary Art Network. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Past Peripheral: Curation in Southeast Asia (2008); Art After War: 1948-1969 (2015); and Raymundo Albano: Texts (2017). He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He was the Artistic Director of Singapore Biennale 2019 and Curator of the Taiwan Pavilion at the Venice Biennale in 2022.
Karolin
Tampere
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Karolin Tampere is an artist and curator based in Romsa/Tromsø, Sápmi/Norway with a particular interest in collaborative, cross disciplinary, long term socially engaged art practices, sound, music and listening. Currently she is a PhD Research fellow in Curatorial practice at Tromsø Art Academy, UiT and KMD, Faculty of Fine Art, Bergen, Norway. Karolin´s curatorial practice has dealt with a wide range of topics fueled by her interests including rural and urban gentrification, art and public realm, socially engaged art and ecology and the other-than-human.
Since 2004 she has regularly contributed to Sørfinnset skole/the nord land initiated by artists Geir Tore Holm and Søssa Jørgensen. This is a contemporary art project based on a place specific, socially engaged learning process, devoted to collective living, making and thinking. The collective has an emphasis on dialogue, long term commitment and an experimental form of value production which connects different traditions and experiences. It is a forever lasting work started in 2003, with focus on relationships with nature, knowledge exchange and small-scale architecture in a broad understanding of aesthetics and ecological realisms.Together with Åse Løvgren their ongoing collaboration Rakett - a mobile platform for multivocal exchange through collaborative and investigative curatorial and artistic projects - was initiated in 2003. From 2013 and partly through 2014 she was serving as director of Konsthall C in Stockholm and collaboratively with Anna Ahlstrand and akcg, transformed the directorship of the institution into a collective named the Work Group/Arbetslaget.
In 2017-2022 she served as curator at North Norwegian Art Centre, realizing context spesific projects with artists and communities across the whole region of Sápmi/Northern Norway. She also co-curated Lofoten Sound Art Symposium (with Svein Ingvoll Pedersen) and LIAF2019 Lofoten International Art Festival (with Hilde Mehti, Torill Østby Håland and Neal Cahoon).From 2011-2023 she was part of Ensayos – a collective research practice centered on de-extinction, multispecies dialogues, coastal health and peatland protection. Initiated on the archipelago of Tierra del Fuego in 2010, Ensayos (meaning “inquiries”, “essays” or “rehearsals” in English) first focused solely on the ecopolitical issues impacting the Fuegian archipelago and its inhabitants–past and present, human and nonhuman. Now, other archipelagos have come into view, with research “pods” growing in Norway, New York and Australia. The mission of Ensayos is to do eco-cultural conservation work in Tierra del Fuego and other archipelagos through collaborative art, science and community projects in partnership with existing ecological and cultural conservation initiatives. On the main isle of Tierra del Fuego, WCS Parque Karukinka, Caleta María, and Hach Saye are foundational collaborators. In 2022 Ensayos presented «The Gift» as a creative collaborator part of «TURBA TOL HOL HOL TOL» collective project led by curator Camila Marambio at the Chilean Pavilion at the 59th Venice Biennale. Ensayos collaborators were working with “pods” of artists and ecologists to explore the ecology and culture of peatlands local to their regions. The three groups conjured gifts of scent from international peatlands that contributed to the multisensory experience of the pavilion in Venice.
Currently Karolin is working on the project Down in the Bog – Thinking with Peatlands. A three chapter research project led by an ambition to create cross-pollinating meeting grounds for art, natural science, environmental issues and a public. The three chapters project emphasizes the sharing and embodying of knowledge and awareness to create attention towards the need for increased care for peatland areas, locally, nationally and internationally. Practically and conceptually, the topic of peatlands act as a guiding map and compass to learn about historical, cultural and contemporary and geopolitical changes in the environments in Sápmi / Northern Norway, Estonia and other selected places internationally. Throughout the two group exhibitions Down in the Bog: Hibernation (Romssa Dáiddasiida / Tromsø Kunstforening) and Down in the Bog – Sporulation (EKKM - Estonian Museum of Contemporary Art, Tallinn) followed by Thinking with Peatlands symposium (co-curated with Camilla Fagerli and Romssa Dáiddasiida / Tromsø Kunstforening continued by the exhibition Reverberations which served as framework for an extensive education programlead by educators Kristin Risan and Mathilde Stubmark, where local school youth lent from the ecosystem of peatlands as a prism for reflecting, sharing, learning and collaboration.Image by Piia rabe
Further contributors are announced as they are confirmed…
GOOD BAD
PRESS
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GOOD BAD PRESS are co-publishers for the napkins that are used for the dinner on Thursday 26 June 2025.
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GOOD BAD PRESS is a collective publishing project for students and staff at the Faculty of Art, Music and Design at the University of Bergen.
NO MONEY
NO FAME
NO EXPOSURE (ok, maybe a little bit)
Come and publish with us!
See our GOOD BAD POLICY.
Founded in 2025 at Kunstakademiet by:
Aleksander Angell
Anna Björkman
Giuliana Borrelli
Tom Holthe Enoksen
Nsuutamukama Favour
Andrea Givskov
Gerile Ismail
Emma Langeland
Camilla Maahr
Louise Luthi-Maire
Ísabella Katarína Márusdóttir
Maria Pasenau
Ciara Phillips
Sarah Hilmer Rex
Johanna Samuelsson
Amalie Skarpeid
Gerda Wikström
Neo Sinoxolo Musangi
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"‘Word of the day’ – musings on the words Experiences, Research and Knowledges.
Neo will also contribute to the pre-programme hosted by Bergen Kunsthall on 25 June.
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Neo Sinoxolo Musangi works in the fields of art and academia, with a particular interest in queer feminist discourse and research. Employing narrative as a method to explore themes related to identity, history, and the experiences of black, ‘African’, and queer bodies, their work (as research, teaching, performance, poetry, installation, and community organizing) aims to create a sometimes fictional yet experiential universe that challenges ‘traditional’ narratives and highlights the complexities of existence for those often overlooked in historical accounts. Their writing explores themes such as uncertainty, memory, failure, and the imagination of freedom. This body of work reflects an affective exploration that seeks to connect personal experiences with broader social issues.
They engage in performances often situated in public spaces, which serve both as methods of inquiry and as actions that invite collaboration from the audience. This approach emphasizes the ‘body at risk’ and seeks to create dialogues around identity, vulnerability, and community engagement.
Neo is a founding member of the Black Planetary Futures Collective, an initiative that focuses on envisioning alternative futures through collaborative research and artistic practices that center on black experiences and perspectives within global discourses.
As a Senior Research Fellow at CAD+SR, Neo contributes to various research initiatives aimed at fostering critical inquiry into social justice issues through art and design thus promoting collaborative learning environments that challenge traditional educational structures. Within their role as Senior Research Fellow, Neo plays a significant role in The After School, an innovative deschooled educational initiative by CAD+SR that encourages self-organized learning among participants from diverse backgrounds. This program emphasizes global collaboration through immersive residencies that connect participants with local cultures.Neo also teaches in the larger fields of Gender and Sexuality (including the Politics of Development in Africa and Transgender Africa), as well as Resistance, Movements, and Social Change at American University. Their academic work has been published in edited book volumes and journals as well as included in syllabi across numerous institutions. Their artistic work has been exhibited at, among others: the York Biennale, Dakar Biennale, Kigali Photo Fest, Universiteit van Amsterdam, and University of Cape Town,!Kauru Contemporary Art.
Carol Yinghua Lu
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Carol Yinghua LU is an art historian and a curator. She holds a Doctorate in art history from University of Melbourne. She is the director of Beijing Inside-Out Art Museum. She was the artistic director and senior curator of OCAT, Shenzhen (2012-2015), guest curator at Museion, Bolzano (2013) and the China researcher for Asia Art Archive (2005-2007). She has contributed to artist monologues, catalogues as well as a number of art journals, including e-flux journal, frieze, the Exhibitionist, Yishu, Flash Art, Contemporary, and so on. She was a contributing editor for frieze magazine (2008-2018), Chief editor for Chinese edition of Yishu: Journal of Contemporary Chinese Art (2012-2013), co-founder and co-editor of Contemporary Art and Investment magazine (2007-2010). She received Yishu Awards for Critical Writing and Curating on Contemporary Chinese Art (2016).
She was a recipient of the ARIAH (Association of Research Institute in Art History) East Asia Fellowship (2017) and visiting fellow in the Asia-Pacific Fellowship Program at the Tate Research Centre (2013). She was the co-artistic director of Gwangju Biennale (2012) and was the co-artistic director of the 8th Yokohama Triennale with Liu Ding (2024).
She has acted as a jury member for Hyundai Blue Prize Art + Tech (2022, 2021),
Tokyo Contemporary Art Award (2022-2019), The Choi Foundation Prize for Contemporary Art (2022, 2021), Gallery Weekend Beijing Prize for Best Exhibition (2022, 2020-2017), Han Nefkens Foundation –Loop Barcelona Video Art Award Production (2024-2020), abC Art Book Award (2021), Rolex Mentor and Protégé Arts Initiative (2019), Hugo Boss Asia (2019), International Award for Art Criticism (2014), the Future Generation Art Prize (2012), and the Golden Lion Award at Venice Biennale (2011).
Jaleesa
Johnston
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Jaleesa Johnston is an interdisciplinary artist, educator and curator currently living and working in the Pacific Northwest. She holds a BA from Vassar College, an MFA from the San Francisco Art Institute and an MA from the University of Bergen in Norway. Her art practice explores the ruptured space between the subjectivity and objectivity of the Black female body. She has been the recipient of the AICAD Post-Graduate Teaching Fellowship, Centrum’s Emerging Artist Residency, Open Signal’s New Media Fellowship, Performance Works NW Alembic Artist Residency and an Artist Trust Fellowship Award. Jaleesa also works as Curatorial Coordinator in the Curatorial Department at the Portland Art Museum, where she initiated and curates an ongoing exhibition series titled Conductions: Black Imaginings. Her curatorial interests and research include the residual imprint of ephemeral works in institutional spaces, with a focus on Black performance work.
Natasha Marie
Llorens
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Natasha Marie Llorens is an independent curator, writer and professor at the Royal Institute of Art, Stockholm, where she also co-directs the Center for Art and Political Imagination (CAPIm). Recent curatorial projects include 1000 Villages with artist Massinissa Selmani at Index Foundation in Stockholm and rhizome in Algiers. She is working with Mariam Elnozahy towards an exhibition on generational transmission and plant life at Konsthall C in Stockholm, which opens in 2026, and the establishment of a summer school in Marseille associated with CAPIm. Recently published writing includes “Violence; Articulation: Ambivalence,” and “The Function of Language: Notes on a Crisis.”
Sabina
Sabolović/WHW
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Coming soon…
Julia Moranderia Arrizabalaga
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Julia Morandeira Arrizabalaga is a researcher and curator working in the shared grounds of critical theory, cultural studies, and educational and artistic practices. Since 2024, she is Director of Studies at the Museo Reina Sofía in Madrid. Among the positions she has held, she was director of KADIST Paris (2023-2024), curator of the post-academic program at BAK, basis voor actuele kunst in Utrecht (2021-2023), and co-director of escuelita at CA2M in Móstoles (2016-2020), among others. She has was also responsible of Leiden University’s “Social and Ecological Activism in the Visual Arts” (2022-2024) and as well as theory and research tutor at DAI’s master program (2019-2023). Her curatorial investigations are articulated in long-term enquiries such as Canibalia; Social Choreographies; Night Studies; The Hauntologists, or Bastardie/A Convening of Civic Poets
Adriana Domínguez Velasco
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Adriana is an Art Historian and Independent Curator from Mexico, currently living and working in Zurich. She graduated in Art History from Universidad Iberoamericana in Mexico City and did an MAS in Curating at ZHdK (Zürich). She worked as Assistant Curator for Museo Tamayo in Mexico City until she moved to Switzerland in 2013.
Adriana specialises in Latin American art and her curatorial strategy mixes theory (with a strong focus on decolonial/anticolonial studies), critical thinking and humour to address current social, political and environmental issues through art exhibitions. In 2017 she founded the independent art space la_cápsula, an experimental curatorial project that facilitates and promotes dialogue and exchange between the artistic and cultural production of Latin America and Switzerland, in particular looking at the colonial relations that are still at play between the two territories, analysing geopolitical, environmental, exctractivism, gender and race issues. Hosting, working across networks of solidarity, as well as reclaiming the public space and offering spaces for joy and conviviality are the main pillars of the project.
Since 2023, Adriana is a teacher and mentor at the MA Curatorial Studies at the Zurich University of the Art. In parallel she also works as an independent curator. Upcoming projects in 2026 include an exhibition about Chicano Art Collective Los Four at Kunsthaus Biel/Bienne, and the first exhibition of the Chair for Architecture Heritage and Sustainability led by Prof. Mariam Issoufou at ETH Zurich.
Daniela
Ramos Arias
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Daniela Ramos Arias, she/her (San José, Costa Rica, 1980) is a curator living and working in Bergen. She has a BA and an MA in visual arts from Kunsthøgskolen i Bergen and an MA in Curatorial Practice from the University of Bergen under the mentorship of Professor Anne Szefer Karlsen.
Daniela’s curatorial practice has a strong focus on art mediation, her projects look to engage audiences and both internal (for example: collaborating artists, the team in the art institutions she works at) and external communities (for example: the people surrounding these institutions such as neighbours, passersby, diasporic groups, interinstitutional collaborators, other organisations outside of art).
In 2019 and 2022, she led the Education and Mediation department for the Bergen Assembly. Since 2020, she has been one of the curators at Hordaland Kunstsenter and runs the mediation program where she has developed ongoing projects such as Dear Neighbour or Coffee with the Team. In 2023, she was one of the appointed curators for the 2023 edition of Norske Kunsthåndverkere Temautstilling, which was hosted at Hordaland Kunstsenter.
Ramos is one of the founding members of the interdisciplinary space Kiosken, which presents, disseminates and mediates the work of artists, designers and artisans in the region of Vestland. Through Kiosken, Daniela has acquired a vast knowledge in the field of contemporary craft, and design.
As a freelance curator, she started the project TOOLBOX together with curator and cultural producer Aisel Wicab (Mx), a publication that gathers the work of artists, mediators, curators and other practitioners in the field of art mediation and community practices from Latin America, and diaspora in the Nordic Countries. Most recently, TOOLBOX was present at Momentum Biennial 12, and has been collaborating with other institutions and organisations such as Nord Norsk Kunstmuseum, Tenthaus, TEOR/éTica, Hordaland Kunstsenter and Aerial.
Daniela is an active member of the Empathic Pedagogies Network and a member of CIMAM. She is a board member at Bergen Kunsthall, a member of the selection committee of the Norwegian Council of Arts, and part of the selection committee of Norwegian Crafts.
Paloma
Ayala
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Paloma Ayala (b.1980, Matamoros, Mexico) is a visual artist interested in empowering the relationship between domestic living strategies and political contexts. Paloma´s projects nourish visions of connection between humans and more than human spheres, they dream of emancipation from marginalizing dominant structures, and emphasize practices of care across different topographies and borders. Her favorite spaces to work range from kitchen to river shore, from international crossing bridge to agricultural land, from community meeting to aquelarre. Her work takes the form of publications, videos, installations, reading/cooking sessions, and zine workshops directed to different public, including humans outside of cultural institutions. Paloma’s work is rooted in her home, the eastern US/MX border landscapes, simultaneously blooming in her current base in Zurich. She has a Bachelor in Fine Arts (Universidad de Monterrey 2002), a Teaching Degree (Arte AC 2003) and a Master in Fine Arts (Zürcher Hochschule der Künste 2017). Her professional background as a teacher and community worker has led to the development of a community praxis focused on care. She collaborates with Mexican cultural worker Javier Dragustinovis in the workshops for coastal and rural communities. She is part of with the fields collective, hosting common discussions about artists dealing with rural circumstances across territories. She collaborates in the music project KARAOKE READINGS with queer Mexican border musician Luna León. She is part of the curatorial team of Les Cómplices*, independent art space in Zurich with a queer and BIPoC focus.
Damir
Avdagić
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A video work by Damir will be screened before the keynote of Zdenka Badovinac.
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Damir Avdagić (b.1987, Banja Luka, BiH) is a visual artist and educator based in Oslo, Norway. The conflict in the former Yugoslavia (1991-1995) makes up a central part of Avdagić´s family history and he uses this event as an entry point to address shifting political systems, migration and the relationship between generations through text, performance and video.
Avdagić´s main material is words; spoken narratives which he collects through conversations with the Yugoslav diaspora. This material is then activated through various strategies of performance (re-enactments, translations, readings etc.) and developed into moving image installations. In his work, narratives become transmissible between “author” and performer. By having members of one generation perform the words and actions of another, he seeks to reflect on how history transmits between generations and echoes in the present.
His projects have been presented in group exhibitions at Inside Out Art Museum, Beijing 2024; CAC Gallery, Irvine CA 2024; Neuer Berliner Kunstverein, Berlin 2023; GameC, Bergamo 2023; Whitechapel Gallery, London 2023; Falstadsenteret, Ekne 2023; KRAK Center for contemporary Culture, Bihac 2021; Framer/Framed, Amsterdam 2020 amonst many others. Solo exhibitions include UKS (Young Artists´Society) Oslo, 2024; North Norwegian Art Center, Svolvær, 2023 and 18th Street Art Center, Santa Monica, 2020
Avdagić´s first artist monograph titled “Damir Avdagic, Prijenosi/Overføringer/Transmissions” presents four projects developed over ten years and features text contributions by Sabeth Buchmann, Slavenka Drakulic, Jasmina Tumbas and Mary Kelly. The book will be published on June 4th 2025 by Archive Books (Berlin/Milano/Dakar)
Frances
Morris
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Frances Morris, CBE
Curator, art historian and writer, Frances Morris is currently a Distinguished Visting Professor, Ewha University, Seoul, South Korea and Chair of the Gallery Climate Coalition.
Frances was Director Tate Modern from 2016-2023. Frances has made many exhibitions and publications, including acclaimed retrospectives of Louise Bourgeois, Yayoi Kusama and Agnes Martin. As Director of Collections, International Art from 2006 to 2016 Frances led the transformation of Tate’s International Collection, championing the representation of women, strategically broadening and diversifying its international reach and representation, as well as bringing photography, moving image and live art into the institution for the first time through acquisitions, displays and exhibitions. Closely involved in Tate’s declaration of Climate and Ecological Emergency in July 2019 Frances has become a leading voice in the discussion around culture and sustainability.
Frances’s most recent curatorial projects include Phyllida Barlow: unscripted, Hauser & Wirth Somerset and Agnes Martin: Moments of Perfection, The Sorol Art Museum, S.Korea, both in 2024.
Frances is a Fellow of the London Centre for the Humanities, an Honorary Fellow of King’s College Cambridge, and Jesus College Cambridge, and has recently been awarded an Honorary D. Lit from the Courtauld Institute of Art. Frances serves on advisory boards to a number of international Museums and galleries including the Whitechapel Art Gallery, London, Mori Art Museum, Tokyo, MNAC Bucuresti and Serralves, Porto.
Image: Hyunjun Lee
Mack
McFarland
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Mack McFarland is an artist, curator, and educator. For the last twenty years, it has been his privilege to collaborate with many cultural producers in the process of bringing to life the shared cultural experiences that are so vital for sustaining and creating communities, while aiding us in grappling with and discerning meaning from the events of our world. Currently Mack is the Arts Administrator in the Cultural Resources Department of the The Confederated Tribes of Grand Ronde. As an artist Mack has shared his postcards, videos, and performances at Portland Biennial- Oregon, Kaunas Biennial- Lithuania, Time Based Art Festival- Portland, OR, documenta 13- Kassel Germany, Northwest Biennial- Tacoma, WA, and many other venues and festivals. As a curator he has been fortunate to work with many artists, including commissioned projects from tactical media practitioners Critical Art Ensemble, Eva and Franco Mattes, and Disorientalism; as well as solo exhibitions with Justseeds Artists’ Cooperative, Joe Feddersen, David Horvitz, Joe Sacco, Cauleen Smith, and many others. In May 2020 he co-founded Congress Yard Projects with Ariana Jacob, an outdoor exhibition space begun in the time of physical distancing.
Clara
Balaguer
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Clara Balaguer (Makati City, Pisces Metal Monkey) is a cultural worker, curriculum builder, and grey literature circulator. From 2010 to 2018, she articulated cultural programming with rural, peri-urban, and diasporic communities from the Philippines through The OCD, a living room residency program and cultural unit. In 2013, she co-founded Hardworking Goodlooking, a cottage industry publishing hauz that operated from Parañaque, Portland, Laguna, and New York. Previously, she has built program as curator of Civic Praxis at BAK, basis voor actuele kunst, Utrecht; program head of Social Practices at Willem de Kooning Academy, Rotterdam; and teacher for the Design and Dirty Art departments at Sandberg Institute, Amsterdam. Frequently, she operates under collective or individual aliases that experiment with modes of cultural remittance, the latest of which are To Be Determined and Galley Copy Shoppe. Currently, she teaches Experimental Publishing at Piet Zwart Institute, Rotterdam.
Image by Wawi Navarroza
Cis
O’Boyle
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Cis is a collaborative artist and theatre maker who specialises in site-specific relational work. Cis is the co-founder of Idle Women based in Lancashire UK
Idle Women is an arts and social justice collaboration, a series of artistic responses, hopeful potential for another way. Idle Women co-creates spaces outside of the institution in areas with little money and no arts infrastructure. The collaboration works deeply, responsively, cross sector and long term. After ten years Idle Women is a growing rhizomic network renewing, plotting and persisting in the gaps, a ferocious celebration of the ignored.
Before Cis left the institution she trained at the Bartlett School of Built Environment, her collaborative works include: IK prize Tate Sensorium, OSBTT award Terrific Electric Barbican, site specific projects with Artangel. Installations at ICA London & National Review of Live Art. Opera at Bregenz, Royal Opera House & Sydney Opera House. Teaching includes Goldsmiths, Central School of Speech and Drama.
Rachel
Anderson
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Rachel is an artist, producer and writer specialising in site-specific relational practice and production.
Rachel is a co-founder of Idle Women, making work through long-term collaborations and partnerships outside the Institution with grassroots domestic violence networks. Collaborative projects include The Physic Garden - an artwork, an argument and a space to belong, built to last for a hundred years, Stadium for the Future (if I can't dance I don't want to be part of your revolution) dancing a new vision of a stadium into existence at site-specific women-only raves for UEFA Women’s football championships and PowerTools for every woman a viral youtube DIY film series.
Previously she was Head of Interaction and Producer of Collaborative Projects at Artangel, commissioning and producing works including The Museum of Non Participation with Noor Afshan Mirza and Brad Butler and A Tender Subject with Mark Storor. Rachel led the inaugural Education and Outreach program at South London Gallery and was manager of Queensbridge Youth project in Hackney where she initiated the Queensbridge Community Arts partnership with Immediate Theatre.
PROGRAMME DESCRIPTION
Thursday
26 June 2025
Conference guests are invited to make their way to the top of Mount Fløyen by foot or by taking the Fløyen funicular to arrive at 3 pm or 4.30 pm.
If you arrive at 3 pm you will be greeted at the upper station of the Fløyen funicular and invited to walk a short distance into the forested area of the mountain to listen to a conversation between Anne Beate Hovind and Flóra Gadó. You will be invited to have a cup of coffee or tea and perhaps a small snack to accompany the conversation. Please dress according to the weather.
If you arrive at 4.30 pm you are invited to make your way straight to Fløien Folkerestaurant and go upstairs to ‘ToppFløyen’. Here you will be offered a welcome drink. After settling in, the programme starts with a welcome by Anne Szefer Karlsen. Neo Sinoxolo Musangi will offer their first poetic reading, dealing with the word experiences, followed by the video work Prolazi izmedju 1980-2021 (Passages between 1980-2021) by Damir Avdagić.
The keynote lecture will be delivered by Zdenka Badovinac, followed by a Q&A with Martin Caiger-Smith. Our aim is to end this part of the programme between 6.30 and 7 pm.
You are then invited to make your way down the mountain (by foot or funicular) and arrive no later than 8 pm at Bergen Kjøtt for a complimentary sit-down dinner with all the contributors and guests. No dress code.
Friday
27 June 2025
Conference guests are invited to make their way back to Bergen Kjøtt at 9.30 am.
Words of welcome by Anne Szefer Karlsen, followed by the performance This memory will not fade by Gladys Kalichini.
There will be a short break to regroup before Neo Sinoxolo Musangi will offer their second poetic reading, dealing with the word research.
The first panel of the conference Fermentation as Practice, Method and Metaphor with contributions by Carol Yinghua Lu, Frances Morris, Juan Pablo Pacheco Bejarano, Michelle Yeonho Hyun, and Silja Leifsdottir. The panel will be moderated by Anne Szefer Kalsen.
There will be lunch provided for all during a one hour long lunch break at 1–2 pm.
The afternoon panel (title tbc) will be moderated by Syafiatudina, with contributions by Cis O’Boyle/Rachel Anderson (Idle Women), Eszter Szakács, Federica Baeza, Myriam Amroun/Natasha Marie Llorens.
Break to relocate to Bergen Kunsthall for a guided tour at 5.30 pm in the Festival Exhibition 2025: Moon Bag by Tori Wrånes and Rindon Johnson’s exhibition Find Spot.
Complimentary dinner at Landmark at 7 pm (dorrs open at 6 pm). Landmark is in the same building as Bergen Kunsthall. No dress code.
Saturday
28 June 2025
Conference guests are invited to make their way to Cornerteateret at 10 am.
Words of welcome by Anne Szefer Karlsen. Neo Sinoxolo Musangi’s will offer their third and final poetic reading, dealing with the word knoweldges, followed by an artistic position by Ciara Phillips focusing on the work Press Room from 2019.
The morning panel (title tbc) will be moderated by Jaleesa Johnston and Mack McFarland, with contributions by Manuela Moscoso, María Berríos, Patrick Flores, and Sabina Sabolović/WHW.
There will be lunch provided for all during a one hour long lunch break at 1–2 pm.
Launch of the research report Formidling som fagfelt (Mediation as discipline) by Daniela Ramos Arias and Anne Szefer Karlsen
Afternoon panel (title tbc) convened and moderated by Julia Moranderia Arrizabalaga with contributions by Clara Balaguer, Olivier Marboeuf, and others.
Dinner is self organised.
In the evening, everyone is invited to Bergen Assembly for an informal gathering with sounds by Karolin Tampere. Doors open at 7 pm.
Sunday
29 June 2025
Workshop participants are invited to make their way to Bergen Kunsthall at 10 am.
Our aim is to end this last part of the programme between 4 and 4.30 pm.
This workshop is convened by Daniela Ramos Arias, with a group of ‘workshop mediators’: Adriana Domínguez Velasco, Andrea De Pascual, Eva Rowson, Paloma Ayala and more.
The workshop will focus on curatorial and educational practices from Latin America, through texts that have been translated to English for the first time and for this occasion.
Sign up necessary. Maximum capacity of 80 participants.
The workshop will activate some of the issues and questions addressed in the anthology Agítese antes de usar. Proximidad y reciprocidad en las prácticas artístico/educativas (Temblores, 2023), edited by Renata Cervetto, Macarena Hernández and Miguel A. López. This volume continues and expands the research of the previously published anthology, Agítese antes de usar. Desplazamientos educativos, sociales y artísticos en América Latina (MALBA and TEOR/éTica, 2017).
This Sunday gathering will be structured in three parts, and participants will be expected to be in dialogue with each other in groups no bigger than eight-ten people.
There will be lunch provided for all during a one hour long lunch break (time tbc).
Those that sign up will be approached in an email before the conference to confirm their participation by providing a short bio of no more than 70 words, and a paragraph of no more than 150 words about why they are interested in taking part of this workshop and how they think it might question/impact/affect in their own professional field?