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Tensta Museum: Reports from New SwedenAt Tensta konsthall and other venuesFall Department 26.10 2013–18.5 2014

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Tensta Museum: Reports from New Sweden

mentally ambivalent. And yet it is impos-sible to deny the close bonds between a new “respect” for history – both real and imaginary – and the sense of belonging, collective consciousness, memory, and identity promised by shared memory. With the concept of “cultural heritage” as a thematic point of departure, Tensta Museum: Reports from New Sweden examines what it actually means when the public debate concerning memory and history is replaced by a preoccupation with memory and “heritage.”

This is also a question of what it means for extreme right-wing organisations and parties – and fascists in particular – to claim rights of interpretation over the idea of national heritage. The symposium, Cultural Heritage: A treasure that is seek-ing its price, addressed this question and took place at Tensta konsthall March the 7th, 2013, in cooperation with Stockholm City Museum, as a part of Tensta Mu-seum. The symposium was curated by the philosopher, Boris Buden (Zagreb/Berlin) and included Francoise Vergès, profes-sor at the Center for Cultural Studies, Goldsmiths College, who talked about the purpose of cultural heritage from a post-colonial perspective; Owe Ronström,

professor of ethnology at the University College of Gotland, who discussed the cultural heritage situation in Sweden; and Eszter Babarczy, associate professor at Moholy-Nagy University of Art, Buda-pest, who discussed the cultural strategies of the right wing in Hungary.

Tensta Museum: Reports from New Sweden offers a richly contrasting quilt stretching across seven months in which manifold interests and forms of expression narrate the past, present and the future. For this reason, Tensta Konsthall is play-ing at being a museum in order to produce the authority necessary for discussing history, but also to indicate a desire for stability, continuity and seriousness in such discussions. It is a self-institutional-izing gesture that should be seen in light of a need for Tensta Konsthall, a private foundation founded in 1998, to become itself more stable and continuous. In fact, Tensta Konsthall has been run more like a project than an institution since it began.

Tensta Museum: Reports from New Sweden contains a model of a 1969 brutal-ist pavilion in Newcastle which has been remixed by Thomas Elovsson and Peter Geschwind into something between a spacecraft and a ruin, and moved to Ten-

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Tensta Museum: Reports from New SwedenAt Tensta konsthall and other venues26.10 2013–18.5 2014

Tensta Museum: Reports from New Sweden is about history and memory in Tensta, both in relation to the place and to the people who live and work there. Some forty artists, architects, local associa-tions, performers, sociologists, cultural geographers, philosophers, and other practitioners address the past in artworks, research projects, seminars, and guided walks. And it is through this that they simultaneously report on the condition of Tensta today as a concrete image of what can be described as the New Sweden — a Sweden that must be understood very dif-ferently from how it was several decades ago. This is a Sweden containing people of vastly different backgrounds, where economic and social divides are intensi-fying. According to a new report by the Organisation for Economic Cooperation and Development, of all of the 34 mem-ber states of the OECD, income gaps in Sweden are increasing the most rapidly. In their contributions to Tensta Museum, some of the invited participants will also

be looking forward and proposing future scenarios.

Tensta is an unusually multi-faceted and complex place. Its most tangible feature is a large, late modernist housing area built in 1967–72 as part of the Million Programme. Nearly six thousand dwell-ings share space with iron-age graves, rune stones, one of the Stockholm region’s oldest churches from the 12th century, a famous baroque chapel, and a former military training area from the early 20th century which is now a protected nature reserve. Around 19,000 people live in Ten-sta today, and roughly 90% have a trans-local background, many from the Middle East and North Africa. This means that the collective memory of Tensta splits at numerous angles; it also means that ten-sions and conflicts erupt around questions of “whose history?” and “whose herit-age?” Tensta Museum: Reports from New Sweden also touches upon the concept of cultural heritage and the complicated matter of how it is used in Sweden and elsewhere in Europe today.

Just as the struggle for collective memory can be liberating, it can also ex-clude certain people and even lead to war. A preoccupation with the past is funda-

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sta. Satirical drawings about the political situation in Somalia by the exiled artist Amin Amir are shown in parallel with material on Tensta’s architectural history borrowed from architect Erik Stenberg’s private archive. A long-term collaboration on the politics of listening between the artist Petra Bauer and the Tensta-Hjulsta Women’s Centre will be presented in an installation and a series of acts. Here questions concerning housing and housing conditions are central; they comprise one of the central threads running through several of the exhibition’s projects.

The autumn will see the inauguration of The Silent University, initiated by artist Ahmet Ögüt. The Silent University is an autonomous knowledge exchange plat-form run by and for asylum-seekers, refu-gees and migrants with degrees from their home countries but without the opportu-nity to apply their knowledge in Sweden. The project aims at reactivating this blind spot and exposing a systematic failure to take advantage of the enormous sophis-tication of so many who find themselves placed in a marginal position in their new home. The exhibition of ten watercolours by Josabeth Sjöberg (1812-1882) from the Stockholm City Museum’s collection will

be the starting point for the exhibition’s sub-theme on housing conditions. As an unmarried woman without means, Josa-beth Sjöberg could never afford a home of her own and moved between various rented rooms on Stockholm’s Södermalm, which she depicted in detail in her re-markable watercolours. Together with the Royal Institute of Technology’s architec-ture department and the Association of Stockholm Architects, a series of lectures dealing with housing conditions and hous-ing construction will be held.

The art collective Järva Project will present an aquarium and a video using documentary film methods to investigate the relationship between fauna and sub-urbs, nature and the built environment. The work concerns a rare and protected fish, the Stone Loach, which lives in the overgrown stream running through the nature reserve Järvafältet on the edge of Tensta. Researchers at the Swedish Museum of Natural History have given the Stone Loach a decisive role in city planning, and even inputting a stop to the exploitation of the Järva fields during the 1990’s building boom. In cooperation with the Spånga Local Heritage Society and the Local History Society, a selection of

photographs of Tensta from the Heritage Society’s collection will be presented. The photos were taken prior to the start of the so-called Million Programme.

A mini-exhibition with art that reflects late modern housing areas confirms the great interest artists have shown in the subject since the 1990s. On Wednesdays, open tours will be given of the “model apartment” in Tensta, a museum situated in the middle of an ordinary block of flats. A visit there entails time-travelling back to late 1960’s Tensta: the apartment is a reconstruction of the Artursson family’s dwelling as it was when they moved there in 1969 as one of the first families to live in the newly-built district.

Another mini-exhibition, Salon Tensta, offers an open invitation to a salon about Tensta in words, sounds and images, selected by, among others, the hip-hop artist, Adam Tensta and Maria Lantz, photographer and rector of the Univer-sity College of Arts, Crafts and Design. Branches of Tensta Museum will be in-augurated on 14 November at Stockholm City Museum, where the artist Katarina Lundgren presents a new work based on Granholmstoppen in Järva Field, and on 2 December at the Museum of Medi-

eval Stockholm, where the artists Bernd Krauss & Nina Svensson will present the Tensta Horseracing Society.

Meron Mangasha and Senhay Berhe’s Blue Blood, a tribute to an underground train in words and moving images, will be shown at www.tenstakonsthall.se/space. Other projects will take place at Ross Ten-sta Upper Secondary School and in the library in Rinkeby, where Hans Carlsson’s art project Artoteket makes it possible for people to borrow art using a library card. While the Tensta library is renovated dur-ing winter 2013 and spring 2014, many of its books, especially children’s books and books on local history, will be available at Tensta Konsthall. Tensta Museum hosts a full programme that includes historical walks, seminars with people who expe-rienced early Tensta and a lecture by the cultural geographer Irene Molina on the increasing ethnic and socio-economic segregation visible in Tensta and in other Million Programme areas.

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Tensta Museum: Reports from New Sweden

Tours of Stockholm City Museum’s model apartment at Glömmingegränd, 14.00 on Wednesdays (meet at Tensta konsthall)

Introduction to Tensta Museum, 14.00 on Thursdays and Saturdays.

In cooperation with: ABF (Workers’ Edu-cational Association), Tensta Library, Ross Tensta Upper Secondary School, Stock-holm City Museum, the Museum of Me-dieval Stockholm, Eggeby Farm, Friends of Helga Henschen, The Royal Institute of Technology, Architecture in Tensta, The Institution of Contemporary History, Södertorn University and the Stockholm Association of Architects.

1. Amin Amir and Images of SomaliaBulletin board, seminar series and work-shops

The point of departure for Images of Somalia is the political cartoons of the Somalian satirist, Amin Amir, depicting contemporary events in Somalia. Amir, who has been living in Edmonton, Canada since 2004, publishes a cartoon almost daily on his homepage, which is followed by readers all over the world. The images of Somalia are shown on a bulletin board

at Tensta Konsthall, where the cartoons are mounted regularly. This will be com-plemented by a number of workshops and a series of seminars. The project highlights questions concerning how collective mem-ories of a war-torn country are produced and reproduced in general, and in Tensta in particular. Whose heritage and what memories are classed as “cultural heritage” in a place like Tensta, where many people have a history in a different country?

Two Sundays, 3 November and 15 De-cember, will be family Sundays featuring images of Somalia, with Ahmed Abdiraha-man, Spånga-Tensta District Authority and Hedvig Wiezell, Tensta Konsthall, in coop-eration with the Somali Parents and Home Language Association. The programme is part of Peace Images of Somalia, a project that Abdirahman runs under the aegis of Spånga-Tensta District Authority.

www.aminarts.com

Tarek AtouiVisiting Tarab music list in Tensta Kon-sthall’s café, meetings, shared listening, improvisation concerts and conversations about music, 2013

The artist and musician, Tarket Atoui’s (Beirut/Paris) contribution to Tensta Mu-

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Tensta Museum, Fall Department26.10 2013–12.1 2014

Amin AmirTarek Atoui Petra Bauer & Sofa Wiberg in collabora-tion with the Women’s Centre in Tensta-Hjulsta & Filippa StåhlhaneSabine Bitter & Helmuth Weber Boris Buden Hans Carlsson Thomas Elovsson & Peter Geschwind Håkan ForsellBarakat Ghebrehawariat with Revolution Poetry: Nachla LibreDominique Gonzalez-Foerster Terence Gower Heidrunn Holzfeind Järva Project Kurdish Association Spånga Bernd Krauss & Nina SvenssonKatarina Lundgren Meron Mangasha & Senhay BerheIrene Molina Ricardo Osvaldo-AlvaradoViktor Rosdahl Pia Rönicke Solmaz Shahbazi & Tirdad Zolghadr Josabeth Sjöberg (1812-1882)Somali Parents and Home Language

Association Spånga Local Heritage Society Erik Stenberg Adam Tensta Sonja VidénFlorian Zeyfang & Lisa Schmidt-Colinet & Alexander SchmoegerAhmet Ögüt

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seum comes from his ongoing work with the music genre, Tarab, and other classical Arabian music. It has a very sparsely docu-mented history which Atoui, trained in electro-acoustic music and sound art, has delved into over several years. In Tensta he will create over a period of six months a kind of living archive together with local musicians and people interested in mu-sic. It will become a bank of experience, whose constant changes and elaborations take place through encounters, listening together, improvisational concerts and conversations about music. All this will end up in various pieces of music that can be heard in the gallery café. A performance of new music, which includes contributions from the public and feedback in a collective creative process, is planned in May 2014 at Taxingeplan.

2. Petra Bauer & Sofia Wiberg in col-laboration with the Women’s Centre in Tensta-Hjulsta (KITH) & Filippa Ståhlhane.Reherasals – eight acts on the politics of listening

Installation with furnishings, which will be used by the KITH after the exhibition at Tensta Museum. Eight acts, 2013.

Rehearsals is about learning to listen and not understand, as a political act. In the West, the voice is often emphasized – that is, the importance of having a voice and the importance of being heard. It is often said that a voice can create a political subject. Rehersals aims to change that: the radical act is more about listening and less about being heard. Is it possible, through listening, to create a new form of sharing?

Listening as a political method is in-vestigated in eight acts. The general theme for the acts involves the dwelling, a subject that affects many people, but in differ-ent ways. Through listening, experiences are shared with others regarding housing, the home and living conditions. Together with KITH, a multi-ethnic association, with about 250 members and premises on Glömmingegränd, and the architect Filippa Stålhane (Stockholm), the artist and film-maker, Betra Bauer (Stockholm) and political scientist and researcher, Sofia Wiberg (Stockholm) have created a corri-dor for listening in the gallery. It will func-tion as a stage for the eight acts. How this space is formed is based on the women’s needs for a central area in a flexible space which can be used for the various activities they do – for instance, language teaching,

sewing courses and various kinds of every-day get-togethers. Bauer and Wiberg will present their project Saturday, 7 December.

Opening: Dance Party, 31.10, 13.30-16.30 The dance party, which is only for women, is organized together with the feminist performance artist, Sarah Deger-hammar, dancer Tanja Tuurala and KITH. Food and drink will be served.

Act 1: What do we hear? 18.11, 10:00–13:30The first act takes place in collaboration with the international sound collective, Ultra Red, who work on a border between sound art and political activism, around questions relating to housing, health, anti-racism and migration. Through listening they examine social conditions, struggles and other collective processes. They under-line in their work that common listening, dialogue and reflection are political activi-ties that can both contribute to and chal-lenge collective relations and organizing.

Act 2: Power, the body and space, 12.10, 13:00–16:00The second act involves Carina Lis-terborn, professor of Urban Design at Malmö University. Listerborn’s research concerns power, space and the body in relation to questions of a socially sustain-

able urban development. In her most re-cent research she has focused on housing and residential planning, amongst other things, how a focus on genus can create a more attentive and self-aware planning practice.

Acts 3-8 take place during spring, 2014. To participate in these acts, please mail Rehearsals8acts@gmail.com, Limited places.

Sisters!Film 72 min, 2011

Petra Bauer’s film Sisters! Is part of the artist’s ongoing investigation of film as a political act. It was produced in col-laboration with the feminist organization, Southall Black Sisters in London, and concerns their work against the oppres-sion of black women. The film shows us political resistance in its most everyday form – in the women’s work where politi-cal perseverance is central. The film is part of a larger project which includes research on British feminist film produc-tion and theory formation from the 1970s. Sisters! reflects the possibilities provided by the moving image for social and politi-cal negotiations. Petra Bauer is an artist

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Tensta Museum: Reports from New Sweden

dents about their opinions of the housing complex. Architects, activists, government experts and artists discuss the relationship between the powers that formed Caracas. One of these powers is the new constitu-tion, undertaken by the now deceased president, Hugo Chavez. The constitution has had a significant effect on the lives of Venezuelans as it has put great stress on democratic participation. It is no longer androcentric and written in an easily com-prehensible language. In retrospect, the mass occupation of 23 Enero can be seen as a type of social practice which resem-bles what in Europe is called, “participa-tory architecture”, a method which allows and even encourages citizens’ engagement in architectural projects.

5. Thomas Elovsson & Peter GeschwindTime – Space Shuttle (Apollo Pavillion), model in cellophane plastic and video projection, 2013

The science-fiction-inspired model, Time-Space Shuttle (Apollo Pavilion) is a reworked version of, Victor Pasmore’s abstract sculpture, Apollo Pavilion, from 1969, which was originally placed in the middle of a housing area in Peterlee.

Peterlee is a small community, south of Newcastle, in England, and was part of the British investment in housing, the New Town project, which was started in the 1950s. The New Town project was similar in many ways to the Swedish Million-Dwelling Programme (1965-74) and entailed a huge commitment to residential building. The original pavilion was a mix of a pavilion, a bridge and a sculpture, which has been vandalized and despised, but a few years ago was nevertheless saved by a hair’s breadth from being razed through a grass-roots campaign. It has been restored and is now enjoyed by many people in Peterlee.

In the Stockholm-based artists’, Elovs-son and Geschwind’s version, the pavil-ion has been moved, redone and placed in another context. It encompasses its history but it has also acquired a new, more speculative form that reveals what the pavilion could have been in another time and at another place. The whole project reflects Elovsson’s interest in recent art history. As so often is the case with Geschwind, science fiction films and computer games are recalled in how the pavilion is presented with video projec-tions on its outside. Is the pavilion a UFO,

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and filmmaker, based in Stockholm. She is interested in film as a political and col-lective practice, and how stories are cre-ated, presented and represented through the moving image.

4+20. Sabine Bitter & Helmut WeberFrom Our House to Bauhaus – Occupy Modernity Wallpaper 2012

The wallpaper - From Our House to Bauhaus – Occupy Modernity is a series of images using the layout and title of Tom Wolfe’s controversial book, From Our House to Bauhaus (1981). The wall-paper organizes the page numbers of the book into a grid and presents the original images as white surfaces. Then the text is transformed into image in order to visually focus on modernity’s forgotten or abandoned possibilities to improve people’s everyday lives. This can be seen as a counter to the book’s clichéd view of the scaled-down forms of architectural functionalism and its simple materials as ugly and monotonous.

Wolfe’s simplistic critique of mod-ernism had a great effect on the general understanding of modernist architecture. In Bitter & Weber’s Wallpaper, however,

it is not the content of Wolfe’s book that is significant but the pictures of 23 build-ings, namely, the late modernist New York University Silver Towers Housing Complex. Bitter & Weber, artists based in Vancouver and Vienna, have been work-ing since 1993 with projects that deal with specific moments where global urban changes have occurred in different archi-tectural areas and situations. They mainly use photography and video. Together with Jeff Derksen, they have been members of the research group, Urban Subjects, since 2004.

Bitter and Weber will present their project at 14.00, Sunday 27 October.

Living MegastructuresVideo, 25 min, Spanish/English, 2003–2004In Venezuela’s capital, Caracas, there is “23 de Enero”, an enormous modernistic building complex consisting of 80 build-ings. 23 de Enero was designed by Carlos Raul Villaneueva during the rule of the dictator, Perez Jimenez. In conjunction with a revolt against the dictator in 1958, 4,000 of the 9,000 unfinished flats were occupied by the poor and farmers. In their film, Bitter & Weber interview the resi-

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a space rocket or perhaps a ruin from the future? It attests to parallel stories and un-discovered possibilities for a building that was considered hopeless. Elovsson and Geschwind present their project at 15.00, Saturday 23 November.

Håkan ForsellFrom city life to lifestyle – housing and urbanity over a centuryLecture, Wednesday 4 December, 18.30

That the choice of housing policy changes life in cities is no startling state-ment. Nevertheless, questions concern-ing the effects of forms of tenure, cost, and design on the economy, culture, and social conditions of urban environments are rarely asked. During the 20th century, Swedish cities were marked by alternating developmental blocks that have centered on the housing sector, with concomitant social and political reforms. How has the home, after it has changed from being necessary via being ”the good” to being an attractive dwelling, shaped the city environment and its working life, street life, mobility, demography and values? Håkan Forsell is an historian of urban life, research fellow in history at Stock-holm University and researcher at the

IRS/Center for Metropolitan Studies at the Technical University in Berlin. He has recently published the collection of essays, Bebodda platser. Studier av vår urbana samtidshistory (Inhabited Places: Stud-ies of our contemporary urban history), (Arkitektur Publishers, 2013).

Barakat Ghebrehawariat with Revolu-tion Poetry: Nachla Libre, Yodit Gir-may-Abraha and Mustafa KibarWelcome to Scam Society – three inter-pretationsThree talks interpreted by three poets at Tensta Museum openings, 26 October and 18 January, and at the closing, 18 May.

As he himself describes it, Ghebreha-wariat’s (Stockholm) series of talks is “A dystopy written in dyslexia – that happens when letters change hands, in an upside down world, where ‘m’ becomes ‘s’ and ‘sd’ is spelled ‘svt’.” Together with poetry slam network, Revolution Poetry, initiated by Nachla Libre (Stockholm), he links together politics, pathos and poetry. He writes: “21st century Sweden is in a crisis. Racism is having a renaissance and segre-gation has risen up to be one of our most urgent issues. Today our living conditions are strongly bound up with the three Ps:

Pigment – purse – penis privileges. The only thing that denotes “P” for ruin is another Big “P”: Politics. But post-polit-ical culture and nomenclature lack the levels of imagination, energy and daring that are demanded to speak outside the same frames that they have instituted and uphold. Sickness cannot be expelled by sickness. Homeopathy, it’s been shown, is a dead-end.”

6. Dominique Gonzalez-Foerster Parc Central11 short films, 50 min, 1998-2003

Kyoto bathes in blue light as the tracking shot makes its way down the river. The slow, soft guitar music brings a certain cinematic sense combined with one’s uncertainty of the time of day. Parc Central (2006) is a compilation of eleven short films that were filmed between 1998 and 2003. Parc Central takes the viewer to parks, beaches, deserts and urban landscapes – from Kyoto to Rio, through Buenos Aires, Hong Kong, Brazil and Paris. This work captures various urban, suburban and non-urban environments gathered in sequences of film, each of which follows its own logic. Accompanied by music as well as street sounds, each

segment proposes a different small drama – from paper flying in the air in Buenos Aires to a dog caught in a downpour in Taipei. But as with other Gonzalez-Foer-ster (Paris) environments, an abstraction or mystery remains; the sense of place derived is as much one to be completed by the viewer’s own projected understand-ing and interpretation as it is an inherent feature of the site. Her work is character-ized by a quiet, intimate interrogation of contemporary urban life, often featuring modernist architecture. Her films explore cinematic conventions, temporality and subjective experience.

7. Terence GowerTlatelolcona, models in cardboard, framed photograph, 2008

Many of Gower’s pieces are about late modernist housing projects in Mexico, the US and Sweden, amongst other places. Tlatelolcona comprises a proto-type in cardboard of Tlatelolco, a quar-ter in Mexico City. As it was originally conceived and drawn, Tlatelolco seems attractive; its attractiveness, however, was later lost partly because of the addition of a buttress in 1985, partly because of its huge scale. Tlatelolcona is an expression

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gress and Polish socialist prosperity. Today many see the housing district as inferior — with its small flats, an unwelcome re-minder of the communist era. Most of the 25,000 inhabitants are students, pension-ers or childless couples, but there is also a growing number of Vietnamese and Jewish people who have moved there recently. Many post-modern blocks of flats, of-fice buildings and hotels have been built between the original buildings since 1989. This has meant that not only have green areas disappeared, but also the original idea behind the district has been lost. The film contains conversations with inhabit-ants and pictures of corridors, flats, entry ways, shops, playgrounds and schools in the district.

Colonnade Park, Video, hdv, 54 min, 2011

Between 1954 and 1960, the residen-tial buildings, Colonnade and Pavilions, designed by Mies van der Rohe, were built in Newark, New Jersey. Together they form three large complexes in glass and steel, and in the middle of them, Chris-topher Columbus Homes, a public hous-ing project, was erected. These buildings initiated the beginning of urban renewal

in Newark. In the film, life in the district is depicted through conversations with ten-ants, who tell of their experiences of living in these classic modernist buildings, at the same time as we see photos of the flats and fantastic views from the windows.

www.heidrunholzfeind.com

8–10. The Järva ProjectThe Local Heritage AquariumAquarium with Stone Loach, 2013Stone Loach (Barbatula Baratula) in Igel-bäcken, video, 15 min, 2013Video portrait of Mila Ivanow, video, 25 min, 2013-10-21

The Järva Project, an artistic collective initiative consisting of the artists, Fredrik Ehlin, Patrick Kretschek and Erik Ross-hagen, show an aquarium and a video, which using documentary film methods, investigates the relationship between fauna and the suburbs, nature and the surround-ing built environment. The work centres on the rare and protected fish, the Stone Loach, who lives an anonymous life in an overgrown stream (Igelbäcken) that flows through the nature reserve, Järva Field. Järva Field is a former military training ground which is now a recreation area for the surrounding suburbs of Rinkeby,

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of delight in architect Mario Pani’s first vision of a solution for housing in Mexico City – the modern architect’s dream of creating order out of chaos. Tlatelolco illustrates the architect Pani’s original vision before it became a symbol of the tragic student massacre in 1968, when a large number of unarmed students and other civilians were killed by the Mexican army. The earthquake in 1985 killed over 10,000 people and damaged Tlatelolcona. Terence Gower presents his project at 18.30, on Wednesday, 11 December.

20. Heidrun Holzfeind Corviale, il serpentone (The Snake)Video, dvd, 34 min. stereo, 2001

Corviale is a kilometer-long hous-ing complex on the edge of Rome. The complex was commissioned in 1972 by IACP (The Social Housing Institute) and a group of architects, headed by Mario Fiorentino, were given the task of solving the acute housing shortage for working class families who were there then. How-ever, the housing complex was built like a wall which would prevent the town from spreading out into the landscape. When Corviale was finished in 1983 it became the home for 9,500 people. The complex

was designed according to Le Corbusier’s ideas about social housing – for instance that all the necessary infrastructure in a city should be within the housing complex to encourage social contacts among the residents. For political reasons, many of the original structures were never real-ized, or, almost 20 years after the first tenants moved in, not completed. In Holzfeind’s film, the tenants discuss the lack of infrastructure and how Corviale is often castigated as a ghetto, with high unemployment, crime and drug abuse. The film concerns this example of failed modernist utopian architecture that has been a mishap socially. Interviews with residents are mixed with music videos of Romani hip hop that brings up social questions.

Za Zelazna Brama (Behind the iron gates)Video, hdv, 55 min, 2009

This film depicts everyday life in a hous-ing area in central Warsaw that was built during the communist era, in 1965-1972, on the ruins of the so-called “little Jewish ghetto”. The area consists of 19 buildings, all 16 storeys high, and built according to rational modern principles. In the 1970s, the area was a symbol of technical pro-

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Tensta, Hjulsta, Kista, Huby and Akalla. The Stone Loach, which lies buried in sandy creek bottoms most of the year, was, via researchers at the Swedish Museum of Natural History, given a decisive role in city planning and unexpectedly halted the exploitation of Järva Field during the 1990’s building boom.

The Local Heritage Aquarium is an attempt at documenting contemporary history, using in a Gogol-like way both the field and the unique fish, the Stone Loach, to relate how our cities grow out of the patchwork of political visions. The artists are not only interested in a narrative that relates critically and analytically to the image of the place that is reproduced in various media, but also to different forms of narrative. The project began as a site-specific production space at Tensta Kon-sthall, and since 2009 has resulted in a solo exhibition at Tensta Konsthall in 2010 and a publication. The research material gener-ated is collected at www.jarvaprojektet.se. The Järva Project has been funded by the Swedish Arts Grants Committee, the Längmanska Cultural Fund and the Helge Ax:son Johnsson Foundation.

The second film is a portrait of 99 year-old Mila Ivanow, who moved to Rinkeby

in 1969, but has lived in Kista for a year. She was born in 1914 in Vasa, now Finland but then Russia, and came to Sweden after the Second World War. As Stockholm’s first immigrant consultant she worked in Tensta during the 1970s, trying to ensure that children with another mother tongue than Swedish would be able to keep their first language. In the film she also talks about her painting. Five of her paintings are included in Salon Tensta.

11. Bernd Krauss & Nina SvenssonThe only thing we/you are the world’s best at, 2006-2013Installation with a mobile paddock and documentation

The only thing we/you are the world’s best at presents eight years’ experience of trotting or harness racing, an area of Swed-ish culture that actually achieves a utopian “world’s best”. To be best in the world is a parameter that is frequently used in Swed-ish politics. It was most often used during the period of the welfare state, when good conditions for mankind were the objective. At the moment, the classification “world’s best” is primarily used in advertising – for everything. The exhibition piece includes parts of different projects, ongoing and

older, in which Krauss (Nürnberg/Stock-holm/Rotterdam) and Svensson (Timrå/Stockholm) artistically, pedagogically and curatorially worked with trot racing, with, for instance, upper secondary students in Sundsvall, art students in Jakobstad and trot racing camp participants in sum-mer 2013 at Tensta Konsthall. The camp participants visited Solvalla race course, whose horses grazed in Tensta’s surround-ing countryside before the arrival of the Million Dwelling Programme.

The basic structure of the installation is a sort of mobile paddock for various media and materials that show not only how the world of trotting functions as an activity and an industry, but also its more passive, playing-the-horses side. Equestrian sports reveal a living culture in Sweden and they take place in a cultural landscape between big cities and the countryside. As so often in Krauss’ work, amateurs and contempo-rary artists, traditional crafts techniques and conceptual notions converse here. This method reflects both the potential and the limitations of power relations, for example, between the artist and the art institution. In a way typical for Svensson’s work, the context, space, area and institution com-bine to formulate questions around every-

day yet marginalized phenomena. Krauss and Svensson will open Tensta Museum’s branch at the Museum of Medieval Stock-holm with their project, Tensta Horse Rac-ing Society, on Tuesday, 4 December.

The Kurdish Association SpångaOne of Tensta’s most active groups is the Kurdish Association. About 1500 Kurds live in Tensta and the association provides a meeting place for many of them, as well as for others. In cooperation with Tensta Konsthall, the association will present and discuss their history. Materials such as films, photography and publications from various projects and activities will be shown as a part of Tensta Museum’s spring department (18 January – 18 May). The history of the Kurdish Association Spånga is not only about their own activi-ties, but also about the history of Kurdish migration to Sweden. This history, in turn, reflects both Swedish post-war migration policy and political events around the world.

On Sunday, 17 November, an after-noon will be devoted to the history of the Kurds in Sweden and in Tensta.

Tensta Museum: Reports from New Sweden

Meron Mangasha & Senay BerheBlue Blood

www.tenstakonsthall.se/space, 6 min, 2013

Blue Blood is a portrayal of the Blue Line in Stockholm’s underground, nar-rated visually, powered by words. It is an attempt to reflect and immortalize the time and environment we are living in now. Blue Blood was recorded along the route of the Blue Line on two occa-sions, and it shows places and environ-ments that belong to all. In order to avoid connecting a face or a particular group of people to the place, the film has been made at night, in empty places. During the day these places are full of people with different backgrounds and cultures, but in the film they are now bare and anonymous. Inspired by a quote from the poet Arthur Lundqvist at the Näckrosen underground station, Mangasha, who works with poetry and the spoken word, wrote a poem which was then interpreted visually by Berhay, who works with film, both as an artist and commercially. Blue Blood is a celebration of the Blue Line but also conveys mixed feelings about the places along its tracks.

Irene MolinaHow will it be when welfare is exchanged for oppression? The role of politics in segregation processes in Sweden

Lecture, 18.30, Wednesday 6 No-vember

For more than 20 years, housing areas from the Million Dwelling Programme (1965-74) in Sweden have been stigmatized and discriminated against politically. Despite all the official rhetoric about investing national and municipal means to counter segregation, ethnic and socio-economic segregation has been constantly increasing in Sweden. Swedish cities are reckoned amongst the most segregated today according to international com-parisons. There are a number of factors explaining why segregation arises and is reinforced. In stigmatized housing areas, job opportunities, social services and gathering places have disappeared, being replaced by the increasingly heavy-hand-ed presence of police and guards. Molina will discuss the actors and mechanisms that have created segregation in Sweden. Together we will look at urban violence and what segregation has to do with re-cent revolts.

Irene Molina is professor of Cultural

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20. Minouk LimNew Town GhostVideo, 11 min, 2005

“I have nowhere to go, I am a New Town Ghost”, screams a young woman into the microphone of a portable loudspeaker in the opening sequence of the video work, New Town Ghost (2005). Lim (Seoul) wrote a text which she asked a young Korean slam poet to perform, backed up by a drummer and the perplexed looks of pedestrians on the sidewalks in Seoul. The poet performs to the drumbeat as they are driven around on top of a truck in the neighbourhood of Yeongdeungpo. In 2005 this area was in the midst of a planned redevelopment, a continuous threat from reckless privatisation and real estate devel-opment that constantly changed the outline of the neighbourhood. It is an example of recent large scale housing schemes, fraught with other problems than Sweden’s Million Dwelling Programme. Lim’s work often takes on a poetic vocabulary and political criticism, principally of Korean society, and the stark leap Korea has taken to mod-ernise itself. For more than a century this part of Seoul, Yeongdeungpo, had been an important industrial area. It is now rapidly changing, being transformed into a ‘new

town’: a symbol of a new area not only for Lim but also for other Koreans of the same generation.

Katarina LundgrenStockholm’s Tips and Tops. Installation with model, photographs, etc., 2013

Inauguration of Tensta Museum’s branch at Stockholm City Museum, opening 17:00, Thursday 14 November

Lundgren’s work concerns alternative narratives, in the present case, Stockholm’s tips/tops, which were the results of the modern city planning programme in the city centre and suburbs during the spring 1950–1980. Hökarängs top is one of the three H….dals tops, which consist of demo-lition remains after the massive transforma-tion of central Stockholm and the Klara quarter. Järva Field contains Granholm-stop which was constructed from material left over from the building of Tensta and the Tensta Underground. Together with other constructed tops runs an alternative and parallel narrative on the city’s growth and what has become of what there was before. Today these compose a borderland between nature and culture, overgrown parks, neat frisbee golf courses and potential skiing facilities.

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Geography at IBF (Institution for Hous-ing Research) at Uppsala University. Her research has involved various aspects of segregation in Swedish cities and in other countries. Central to her research is the question of power over space. How are different spatial hierarchies created – in better, respectively worse, areas? How do racism, sexism and class correlate in the planning and design of cities? What roles do politics and the market play in creat-ing segregation? To describe the current processes involved in urban segregation in Sweden, Molina uses the concepts “race-ification”, “militarization” and “spatial stigmatization.”

Viktor Rosdahl12. Elineberg 2020, oil on plaster, 200913. Song to the coming storm, 2012 , oil on spilt glue14. A deeper kind of slumber, oil on plas-tic, 201315. In a network of lines that intersect, oil on artificial leather, 140x180cm, 2013

Many of Viktor Rosdahl’s (Malmö) richly detailed paintings are anchored in his experiences of growing up in a violent quarter of a Million Dwelling housing

project in a small town in Sweden. Urban planning, the Million Dwelling Pro-gramme and “the place” have long been a theme in Rosdahl’s art. His new work continues this theme, not as the physi-cal expression of a vanquished dream, but as a plce where things happen. Other references are music and The Coming Insurrection, by The Invisible Committee, which talks about a new feeling of com-munity. The book comes out of the same kind of housing area that Rosdahl depicts, after and in conjunction with recurring social uprisings that only occasionally reach the news.

Different stylistic approaches and frag-ments from various images come together in Rosdahl’s paintings, which are often done on found objects. The painting, “Song to the coming storm” is done in oil on a spilt bit of glue, where the bottle has dried together with its contents. It repre-sents a design hotel in Germany that is on fire, and references both a book by Peter Fröberg Idling and music by Refused. Elineberg 2020 is painted on a bit of cast putty and shows the area where Rosdahl grew up, which was designed by the archi-tect, Jörn Utzon. The buildings have been added onto, which could be done if one

saw the Million Dwelling Programme as a sketch and a foundation to develop, physi-cally and socially. Elineberg 2020 also looks as if a catastrophe had happened and nature is beginning to take over.

The title of the third painting, “A deeper kind of slumber” is borrowed from the group, Tiamat. It shows a tower block on a field. In the grass in front of the building lie two sleeping “wild ones”, from Maurice Sendak’s children’s book, Where the Wild Things Are. They are strange and wild, like vulgar images of the tenants of a Million Dwelling area. According to Rosdahl, this can be taken as a picture of how the working classes in imperialistic western countries are bribed by overabun-dance and therefore cannot fulfil their potential role as wild revolutionaries.

16. Pia RönickeA Place Like Any Other Two-channel video, dvd, 21 min and 16 min, 2001

A Place Like Any Other depicts the Stockholm suburb Bredäng, which was built in the beginning of the 1960s, just before the beginning of the Million Dwell-ing Programme. In the first video, people living in Bredäng talk about how they

experience the area about their possibili-ties to influence its development. We hear views and thoughts about the suburb which are different from the often nega-tive image conveyed from the outside. However, the residents also express a certain powerlessness and passivity as regards local democracy.

The other video contains a documen-tation of a guided tour of Bredäng, led by an architecture historian, alternated with pictures of the area. The guide gives a detailed description of Bredäng, talks about its aesthetic and structural quali-ties, the planning principles that were ap-plied and the building materials that were used. Both films contain archive material showing the growth of the area. The work was done as part of Moderna Museet Projekt and shown in 2001 in the library in Bredäng and the library in Kulturhuset.

20. Solmaz Shahbazi & Tirdad ZolghadrTehran 1380, video, 45 min, 2002

Tehran 1380 is an attempt to produce a documentary film that is reflexive and self-critical while remaining mainstream TV compatible. It compares a modernist hous-ing project of the 1970s with a more recent

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sell remained single and without private means, she could never have her own home but, like many others in Stockholm at the time, condemned to constantly move between rental accommodation.

On Saturday, 26 October, at 15.30, Hans Öjmyr will talk about Sjöberg and her paintings. On Sunday, 12 December, at 14.00, Piamaria Hallberg will talk about the home with reference to Sjö-berg’s paintings, after which there will be a visit to the Stockholm City Mu-seum’s model apartment in Tensta.

18. Spånga Local Heritage Society Poster stand with photographs and maps from Tensta prior to the Million Dwelling Programme

The Spånga Local Heritage Society documents the history of Spånga parish. Tensta is also part of the parish and its oldest mention is in 1292. The area has a wealth of Iron Age and Viking settle-ments and graves, but has most likely been occupied since the end of the ice age. The name “Tensta” comes from the word “tena”, a sort of fishing implement, and “sta”, a sort of enclosure. “Spånga” has to do with water and a passage over water. Spånga church, which is located in the

middle of Tensta, is one of the oldest in the Stockholm area, parts of which date back to the 12th century. Two rune stones in the church yard attest to the fact that long before E 18 and the ring road around Stockholm, people went through Tensta – rune stones were primarily raised at crossroads and on bridges.

Where the housing area is situated to-day there were three farms: Hjulsta, Lilla Tensta and Stora Tensta, which were torn down to make room for the new blocks of flats. Erikslund, where the Kurdish Association Spånga have their premises, is an old shoemaker dwelling, one of the few remaining older buildings. The herit-age society have had premises since 1986 in Nälsta Farm, which was built in the beginning of the 19th century. The soci-ety regularly organises an open house at Nälsta Farm and the municipal Culture School uses it for piano lessons. Spånga Local Heritage Society, which was found-ed in 1932, also publishes books: in 1972, Spånga före Tensta (Spånga before Ten-sta) was published and more recently the minutes of parish meetings between 1600 and 1862 were published. Life in Spånga during the first half of the 20th century has been documented and copies of old

example of mass housing in Tehran, from the 1990s. A collaboration between the ar-chitect and artist Shahbazi (Berlin) and the curator and writer Zolghadr (Zurich/Ram-allah), the film also addresses modernist mass housing as a global phenomenon, one which cuts across political boundaries.

17. Mamsell Josabeth Sjöberg When Josabeth Sjöberg died in 1882 she left a treasure chest of paintings that give unique insights into the life of a single woman in Södermalm in Stockholm, 150 years ago. Sjöberg supported herself as a music teacher but put her heart and soul into more than 60 detailed watercolours, which at present are part of the Stockholm City Museum’s collection. Most of the watercolours depict twelve of her rented rooms and their outdoor surroundings. The paintings were done with great feeling and thoroughness by an entirely self-taught hand.

The rooms in Josabeth Sjöberg’s water-colours attest to a simple existence, with old furniture which she complemented with new when she inherited a little money. Music instruments occupy a central place, and a few canvases, amongst others, a self-portrait and an engraving of Uppsala

Cathedral, are present in all the rooms. The plain colour wall paper in the earliest watercolours in time is replaced by more modern flower patterns, which are depicted with as much detail as all the patterns in the paintings. She is present together with private students, her landladies and also with her friend Ferdinand Tollin, who was a writer and a subversive radical. In one painting we see her with the poor doctor, Fabian Levin, who operates on her breast; in another, she is washing the floor. Other paintings show her grinding coffee and hanging up curtains. Several of the water colours depict charitable institutions for elderly ladies – Drottninghemmet and Borgerskapets Enkehus – where the women lived collectively in rooms with sleeping alcoves.

When Josabeth Sjöberg was born in 1812, to a bourgeois family, where her father was a clerk for the Krigskollegium (roughly, War College), Stockholm had 63,000 inhabitants. The population de-creased while crime, drunkenness, sexual-ly-transmitted diseases and the death rate increased. In the middle of the century the housing shortage was acute, largely because housing production was based on commercial principles. Because Mam-

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maps of Spånga have been made. On Sat-urday, 24.11, 14:00, “Tensta before the Million Dwelling Programme”, based on the society’s photo archives, will be presented and discussed.

Erik StenbergBuild Tensta: A constructed archiveMaps, set of drawings, photographs, books, models, etc.Järva Field, part 1-4, four documentaries from 1965-81, produced by the Stockholm City Museum, 150 min.Video interview with Erik Stenberg, June 2013, 30 min.

Tensta was planned and built over a ten year period, during the same years as the Million Dwelling Programme was being carried out. The general plan for the district was adopted in 1965 and the underground train was opened in 1975. Between these years, 5,600 flats with accompanying social facilities were completed. More than 20 building com-panies were involved in building Tensta. In 1969, at Uppingegränd, Ohlsson and Skarne built a number of flats using their pre-fabricated building system, S66. Erik Stenberg, architect, teacher and depart-ment chairman of The Royal Institute of

Technology’s School of Architecture, was born the same year. Together with Thom-as Sandell, Erik Stenberg re-designed one of these flats and in 1999 Stenberg himself moved into it. This is when it was discov-ered that from the start, the flats were designed to be re-built and adapted to a future society. The floor plans of S66 are flexible in that, for example, the bearing unit is a pillar and the dividing walls, pip-ing are grouped towards the stairwell and the inside walls are moveable.

Since 1999, Stenberg has collected drawings, texts and other material from Tensta’s short history as a residential area in an attempt to understand the origi-nal ideas which have been obscured by generalizations about the Million Dwell-ing Programme as a whole. He has looked for specific details. He views the built environment as constructed rather than planned and has discovered qualities and strengths to build further upon. A selec-tion from his archive, focusing on Tensta as an area, Ohlsson and Skarnes’ building system, and future possibilities for the flats, can now be seen for the first time at Tensta Museum.

On Wednesday, 30 October, at 18.30, Stenberg will talk about the Mil-lion Dwelling Programme and Tensta’s building history. On Saturday, 9 No-vember, at 13.00 Stenberg will lead an architectural tour of Tensta.

Adam TaalSoundtrack to Tensta Museum: Reports from New Sweden, 2013

A driving, drum-based rhythm goes on for 30 minutes in the gallery’s large room, then dies away and starts up again after 30 minutes. This is a soundtrack, written for Tensta Museum, by Adam Taal, better known as Adam Tensta. One of the things that stimulated hip hop artist Taal’s music interests was Vår teater’s break dance at Blå huset (the Blue House), when he was growing up in Tensta. He has lived in the same flat at Tensta allé since he was a child. Today he has new interests and challenges – for instance, challenging prevailing norms and creating one’s own reality.

Sonja Vidén”Million Dwelling Programme – the 1960’s housing dream”

Lecture. Sunday 10 November, 14.00

The Million Dwelling Programme (1965-1974) was initiated at a time of significantly worse housing problems than those of today. For many moving into these dwellings, not least for women, it was like a dream come true to have cen-tral heating, bathrooms, well-functioning kitchens and laundry facilities, car-free yards and even sometimes a separate bedroom for the children. They arrived in dwellings and areas where not only the designs and plans of the dwellings but also access to schools and nurseries, leisure facilities and services were based on thorough research and investigations into what was needed for good housing environments.

Over the years, many stereotyped im-ages of the Million Dwelling Programme have taken hold, especially through the media. It is now high time to replace these conventional views. The renovations which must take place in all buildings over 40 years old are already underway. In order to make use of the real qualities that these buildings have, all variations that exist in reality must form the basis of these renovations. The experiences of those living and working in Million Dwelling Programme districts must be

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been particularly important, which has been a way of generating new research. The Södertorn Institute has arranged some 20 witness seminars on various themes. The witness seminars are open to the general public, who are encouraged to pose questions at the end of each seminar. It is expected that the main discussions will take place amongst the members of the panel (4–5 people). In collaboration with the Institute of Contemporary His-tory, Södertörn University.

19. Ahmet ÖgütThe Silent UniversityLibrary, homepage, publication, lectures and workshops, 2012 ongoing

The Silent University (TSU) is an alter-native knowledge exchange platform, initi-ated by the artist Ahmet Ögut (Istanbul). TSU is directed towards asylum-seekers, refugees and migrants who, despite their professional backgrounds, cannot practice their professional skills in their present situation. TSU adopts the form of an academic programme by arranging courses, lectures and seminars for and by its members and for the general public. At the moment, a group of five lecturers are connected to the university; their lectures

associate to their specific educational backgrounds. The lectures will take place at ABF (Workers’ Educational Associa-tion) in Stockholm and will be in Arabic, Kurdish (Sorani), and Uigurish. Listeners who do not speak these languages will be invited to participate – in other words, knowledge will not be made accessible to all. This approach aims at illuminating the loss of knowledge caused by the social structures that silence it. Seven mentors are part of the network that TSU has built up in Stockholm. These mentors work in various ways within core areas of the Silent University: asylum activism, local organizing, migration and anti-racism.

The TSU Resource Room will be in Tensta Konsthall and the accumulated knowledge bank is also available on the university’s website. To be a member it is required that you donate time and knowl-edge – contact the gallery’s guides for more information. By inventing an alter-native currency – exchanging knowledge instead of money — and unpaid voluntary work, TSU wants to create an alternative form of exchange.

TSU lectures will take place at ABF on Sveavägen 41 between 28.10 and 1.11

At present TSU exists in Berlin, Paris

utilized when making decisions about renovation and development.

Sonja Vidén, who has a special inter-est in collective housing, is an architect (MSA) and associate professor (Emeritus) in architecture.

Witness seminar Tensta’s childhood

Wednesday, 13 November, 18.00-21.00

The seminar focuses on Tensta’s initial period – namely, the planning that led to Tensta’s construction and the first years after the residents moved in. Among the questions under discussion are: how did the dwellings and the infrastructure function during the first few years; how did people experience the district at that time; what is Tensta’s “official history”; and how did the media report on Tensta’s early years?

Participants: Bo Werner, resident of Tensta since 1969; Ricardo-Osvaldo Al-varado, who moved to Tensta in 1975 and has lived and/or worked there sporadical-ly ever since; Lilian Larsell, who initiated childen’s activities within various asso-ciations at the end of the 1960s and has lived in Tensta since 1975; Mats Hulth,

former member of the local council and employed by HSB (the National Associa-tion of Tenants’ Savings and Building Societies) in Järvsta during the 1970s, and Monica Andersson, former local City Commissioner and political scientist.

Since the early 2000s, the Institute of Contemporary History at Södertorn University has implemented the scientific strategy of organizing witness seminars on important themes. The objective is to create new source materials for the future and also to shed light on important his-torical events. For the witness seminars, a number of actors are invited to discuss a specifically chosen theme under the lead-ership of some of the Institute’s research-ers. The seminars are recoded and, after careful editing, published in the publi-cation series, Samtidshistoriska frågor (Contemporary Historical Questions).

The method originated in Great Britain and is part of a tradition of oral history, where the intention is that oral sources complement written ones. The point of departure generally has been the illumination of political and historical events where source materials are lack-ing or are insufficient. The seminars have also focused on specific events that have

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They can resemble cinematic staging and archival collections. One recurring theme in Adelman’s work is nature, and especial-ly the nature found on the edges of cities, along motorways and in industrial areas.

22. Cecilia ArredondoLove, textile roses, 2013

Arredondo studied economics for two years but her passion was design. She decided to follow her dreams and began studying and experimenting with textiles. She came to Sweden in 1988 from Chile and participated in workshops on textiles, sew-ing, and painting. Though she abandoned her dreams to become a mother, she’s taken up her passion again and now designs her own clothes. “In a walk through life I met a woman with a beautiful soul who taught me to make magic roses. The roses are made with love and with positive thoughts. The leaves gave life to my beloved roses.”

23. B.C B.C. is neither a poet nor a song-writer

– she only writes what “comes from the heart”. She gives her picture of Tensta and wants politicians and others to open their eyes and realize that everything is not a bed of roses for those who live here. Can

people who don’t live in Tensta under-stand fully what it means? B.C. writes: Sometimes we say that every family has a history, and that is entirely correct, espe-cially those who live here. Here everyone carries a history, it can be terrible, heavy-going, overwhelming, happy, shocking, upsetting. Some of them are influenced by their background, whose beginning never begins here; instead Sweden becomes the land of opportunity where one can leave one’s past and begin again in freedom. Others’ histories begin here, but their path is not always straight but often full of obstacles, obstacles that are created by so-ciety and affected by cultures, prejudices, the surroundings, xenophobia, etc. As an immigrant or as a Swede with a foreign background, one feels a pressure – at least I do – to perform twice as well as an ethnic Swede to receive the same response and be seen as “Swedish” by society.

24. Mohamed Cadimi Poem, written on the wall and recited at Tensta Museum’s opening, 26 October

Cadimi, born in Casablanca in 1967, works in information in the Stockholm Railway and has an extra job at Rapid. He has been writing poetry since he was a child.

and London:www.thesilentuniversity.org

20. Florian Zeyfang & Lisa Schmidt-Colinet & Alexander SchmoegerMicrobrigades – Variations of a Story Video, hd, 30 min, 2013

Microbrigades portrays the two largest housing areas in Havanna – San Agustin and Alamar. In addition to health care and education, residential housing was one of the most important foundations of the Cuban revolution in the 1950s. On account of the great housing shortage in 1971, so-called “microbrigades” were established – voluntary labour, building large blocks of flats. This has continued up to the present day. In their film essay, artist Florian Zeyfang (Berlin) and archi-tects Lisa Schmidt-Colinet and Alexander Schmoger (Vienna) present this architec-ture, and through selections from archives and Cuban films, they illustrate the conditions for modernity in revolution-ary Cuba. One of Cuba’s most important architecture historians, Mario Coyula, also talks about the post-revolutionary building, Havana del Este. The film gives a subjective view into the creation and development of the buildings. At the same

time, the film shows the unpredictable and contradictory effects the micro-brigades have had over the last decade.

Salon TenstaSalon Tensta is a jury-selected pres-

entation, with Tensta as its theme. Con-tributions have been open to all, with the proviso that they have direct or indirect connections to the Tensta area. The jury members are Maria Lantz, photographer and rector of the University College of Art, Crafts and Design; Adam Tensta, hip hop artist, and Ulrika Flink, assistant curator at Tensta Konsthall.

At 12.30 on Saturday, 14 Decem-ber, the participants in Salon Tensta will talk about their work with Ulrika Flink.

21. Mats Adelman Fifty six species of birds observed from

the window at Föllingebaken 21, Tensta, 25 August 2012- 25 August 2013, watercol-ours and drawings in a book.

Mats Adelman has been trained at Malmö Art College and presently lives in Tensta. He works with installations built upon water colour paintings, wooden sculpture and furniture-like constructions.

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and looks at experiences of our inner and outer space. In Playing in the Millions, he weaves his childhood experiences from Husby and its public art, together with speculations about how one can play with the Million Dwelling Programme and its forms.

29. Silvana LagosA Sound is A Sound is A Sound, original recording of heart beats by Silvana La-gos, composition by Daniel M. Karlsson, Simon torsell Lerin & Bettina Hvidevold Hystad, Tebogo Monnakgotla, Silvana Lagos

The artist Silvana Lagos’ work is often based on collaboration and involves sound. Here she has recorded heart beats from Tensta residents and used them to create new sound compositions.

30. Marcello LentiniVan Gogh in Tensta, acrylic on canvasLove, acrylic on masoniteWhile Waiting for a New Day, acrylic on canvas

Marcello Lentini is an architect whose painting extends from the representa-tional to the non-representational. Colour has an important function in his paint-

ing. Van Gogh in Tensta is inspired by the 19th century Dutch painter’s work, Langlois Bridge in Arles, from 1888. Love is an allegory of the aesthetics of the Million Dwelling Programme. When day breaks in the painting, While Waiting for a New Day, only the parabola antennas witness it. Lentini studied in Florence and came to Sweden in 1982. He has lived in Tensta many years and has a studio at Eggeby Farm.

31. Victor LizanaUntitled, collage book, 2013

Victor Lizana is 29 years old and lives in Solna. He has previously worked in many different areas, such as distribution, where a lot of heavy lifting is required, and as a social worker. He likes to work and to meet people; in addition, he is a good employee and friend. When he’s not studying and working, he likes to paint and make illustrations.

32. Livstycket Stockholm by Livstycket, fabric printing, 2012

The pattern is Livstycket’s unique map of Stockholm. The participants of Livs-tycket, a knowledge and design center

25. Agnes Mercedes Ek Agnes Mercedes Ek studies composi-

tion and sound art at the University Col-lege of Music. Up to now she has mainly been on tours with the Project Melodic Fairytales (radio theatre, although it is music) in most Swedish cities and towns, with some 200 performances. Her target group is wide: she has sold her concerts to art galleries, contemporary music ven-ues — Nybrokajen 11, Norberg Festival, Färgfabriken etc – as well as to ordinary venues and festivals, such as Södra Teat-ern Debaser, South by Southwest (US).

26. Markku HuovilaThe Murder of Palme – a one-sided objec-tive reflectionInk drawing, 1995

Markku Huovila’s cartoon series on Tensta and the Palme murder was prompted by the front page of Dagens Nyheter the day after the murder: “Palme murdered….A witness saw a suspected perpetrator running to Snickarbacken and jumping into a Volkswagen Pas-sat, that took off, turning left on Birger Jarlsgatan in the direction of Tensta.” Huovila, an illustrator and satirist, who moved to Tensta in 1976 was wakened

by the sound of the police helicopter and read the shocking news in DN. The de-scription of the man – dark hair and long jacket – corresponded well to around half of his male neighbours and to himself as well.

27. Mila IvanowSince the 1940s painting has been

an important part of Ivanow’s life. As a young woman she took private lessons with the Finish painter Birger Carlstedt. After retirement she could spend more time painting. To cover the costs she was working as a therapist at night. The days were spent in her studio on Södermalm. Ivanow is depticting the world around her with color. She was born in Vasa in 1914 and she moved to Stockholm after WWII. In 1969 she moved to Rinkeby and since one year she lives in Kista.

28. Wilson KalanziPlaying in the Millions, installation, 2012

Kalanzi is a designer who was born in 1978 in Moscow, but moved to Stockholm when he was one year old. His childhood in Husby is noticeable both in regard to his style and his themes. His work is archi-tectural, made from a child’s perspective,

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where women learn Swedish through textile creation, live in Stockholm but only feel at home in their respective suburbs. With the project “Stockholm: my place on earth,” Livstycket wanted to change that , because Stockholm is where the women now live no matter where they were born. “Stockholm: my place on earth” started in August 2011. The par-ticipants were divided into groups respon-sible for different neighborhoods. Then they all made trips into the city to walk around and explore the different areas. The trips gave the participants their own experiences and images of Stockholm, and drawing from that, these have now become a textile pattern Stockholm cre-ated by Livstycket.

33. Max Miliciano The Suburb’s GiantsSpray and posca pens, Placard, 2013

34. Roland PerssonPhotographs, 1970-1973

Persson and his family moved to Tensta in the spring of 1970. Construction work was in full swing. The picture with the baby carriage was taken at Ten-stastråket, towards the E18. On the left

side is Hyppingeplan, and to the right, Risingeplan. The view from the family’s balcony at Hyppingeplan 19 was docu-mented in 1973. Another photo, from the playground behind Hyppingeplan, was probably taken in the spring of 1974.

35. Lotta RantilHome, part 1, clay, conrete, textile etc, 2013

The sculpture, Home, part 1, consists of 25 small houses, or homes, that rep-resent the 25 dwellings Rantil has so far lived in. Today she lives in Sundbyberg. She is interested in what a home can be, whether a dwelling is automatically a home. Rantil is a trained teacher of textiles and at present is attending Idun Lovén’s art school.

36. Lennart SvenssonRadio programs, articles, etc. about Ten-sta from his private archives

Svensson moved into Bärkingeplan in Tensta in 1968 with his wife and daughter. He has worked in journalism since 1949, worked on press for the LO, Stockholm Arbetarekommun, and was editor in chief of the weekly magazine Västman-lands Folkblad from 1974-1984. Svensson

has been an very active figure in Tensta, something that is reflected in the exhibi-tion through a modest selection from his personal archives. Here you can read, among other things, about the bill for skitrack on Järvafältet, and news articles and posts related to the conditions in Tensta. Culture has been a major inter-est in Svenssons life, which resulted in hundreds of articles and radio programs. Through tapes, the audience can take part in the labor movement through song and poem, portraits of his good friend Helga Henschen, and dive deeply into the writer and poet Dan Andersson’s works. Svensson has been politically active since his teens and has held many political and union positions within Social Democracy. Social and political issues have always been in the center of Svensson’s life, and remain there today.

37. Tanja TuuralaExercises in transformationDance shoes and dance workshop, 20.11

Resisting, consciously, what one has been taught is a never-ending practice. One discovers the possibilities, the knowl-edge, one has had access to during one’s whole life. One discovers that one has

only a very small part of all the accumu-lated knowledge that exists. It is an end-less practice and one will become better at resisting and finding new ways of being and being together. New knowledge. However, now and then one falls into the system again and also in one’s thoughts and will. This fall recurs in different phases of one’s resistance. Dancer and performance artist Tuurala investigates whether the fall itself produces transfor-mation. Robin Spurrier accompanies her also with music. Tuurala is a member of TIR.

www.tuuraladans.se

38. Ensi UkkolaIn Tensta I meet my family from near and far. Photography, 2012

Ukkola has lived in Tensta since 1993. After graduating from upper secondary school in 1969, she moved to Stockholm from northern Finland in order to study. The photographs have been taken in her kitchen when her husband’s nephew, Richard, came to visit them from Ghana and met Ukkola’s son and his partner. Ukkola travels, writes and takes photos, but her work with Swedish Radio takes up most of her time.

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42. Felicia von Zweigbergk Tensta Bitter, Krällinge Steam Lager, Ten-sta vs Kärrtorp, Tensta ESBWater, barley malt, hops, yeast etc, 2011

In 2009, the artist Felicia von Zweig-bergk and the musician Erik Nordin started a small kitchen brewery in their 2-bedroom flat at Krällingegränd in Tensta. Their hallway was full of buckets with fermenting brewer’s wort – an experi-mental workshop for tastes. Tensta beer was successful and financed a number of exhibitions and concerts at Lost Property, an illegal bar in a Dutch suburb. Nor-din eventually became a real brewer and Zweigbergk went to the Royal University College of Fine Arts. At present they run Butcher’s Tears, a micro-brewery in the centre of Amsterdam.

Tensta Museum at other places

Spånga ChurchGuided tours, meet at Tensta Konsthall

Spånga church is one of the oldest churches in the Stockholm area, con-taining original remnants from the 12th century and colourful medieval lime-stone paintings. The church has been rebuilt and enlarged over the centuries; for example, a burial chapel was added during the late 1600s by the powerful family Bonde. During the same period, the reputable sculptor, Burchard Precht finished the famous altar consisting of a crucifix and two figures representing the Virgin Mary and the Apostle John. The church also contains a large collec-tion of escutcheons. A visit to the steeple, which presumably also once functioned as a defense, gives a fine overview of the landscape. Guided tours of the church: Friday, 17 November at 14.00 and Sunday 19 December, at 14.00.

Stockholm City Museum’s Model ApartmentKämpingebacken 13, Tensta,

The City Museum’s model apartment in Tensta is located in one of Svenska

39. Taina Varpa“Meeting” poem, 1990

Varpa was born in Finland, in the region of Karelen, which now belongs to Russia. At 1.5 years of age, she was evacu-ated and became an emigrant in her own country. She came to Sweden in 1963 and has been living in Tensta since 1979. She enjoys the diversity and the fact that in Tensta you can be yourself. Culture is one of Varpa’s great interests, and she writes as a hobby. When she retired in 2007, and was exhausted by labor, culture became an increasingly important part of her life. Varpa is also a part of RIK = Rinkeby Internationella Kvinnors möten (Rinkeby International Women’s meetings.)

40. Ylva WesterlundA New World. Yes, but when?Black and white photo document

A New World…. shows a construction site on the E18 (highway) in Tensta. We see two people and a banderol with the text, “A new world. Yes, but when?” The situation could be seen as a documenta-tion of a political demonstration, or the text could be a kind of speech bubble recording the two people’s conversation. Westerlund works with installations, often

based on drawing, video or texts, where various propositions and ideas are tested and re-formulated. She has attended Malmö Art College and lives and works as an artist in Tensta.

41. Rut Karin ZettergrenThe OutlandersWeb TV-series, hd, seven episodes, 5-15 min, 2012 ongoing

The Outlanders is a web TV series about a pair living in Rinkeby. In the series we see them looking for beings from outer space on the Järva Field, sending signals from Granholmstoppen and foot-ball fields around Rinkeby, working extra in the local grocery and having lectures. Their greatest wish is that extra-terrestrial beings come down to them so that they are not Sweden’s only “outlanders”. As a resident of Rinkeby, Zettergren tired of the media reports of an area, often de-picting the residents as desperate, minor criminals, fundamentalists or victims of failed integration. She decided to create an alternative picture:

www.rutkarinzettergren.se/outlanders.html

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bostäder’s properties on Kämpingega-tan 13, just north of Tensta Centre. The apartment, consisting of three rooms and a kitchen, is a period document from the 1960s, illustrating what it looked like during the time that the Artursson family, with three children, lived there. Assisted by the mother, Irene Arturs-son, the apartment has been re-created as it was, with the old kitchen cupboards, wallpaper and interior decoration. Even the stairway has been reconstructed in its original form, with period spatter-paint decoration. The Tensta apartment is one of a series of model apartments in Stockholm that show us how people in Stockholm lived during different periods of time. The apartment in Tensta was opened in conjunction with the Housing Fair in 2006. The apartment is typical for the Million Dwelling Programme – well-planned and adapted to modern ways of living. The apartment functions as both a museum and a meeting place. Guided tours every Wednesday at 14.00. Meet at Tensta Konsthall

The Women’s Center in Tensta-HjulstaThe Women’s Centre in Tensta-Hjulsta

(KTIH) was started in 1997 and is a

voluntary women’s association. The as-sociation is multi-enthnic, with members from some 20 countries, and contributes towards increasing women’s possibilities for engaging themselves and influenc-ing society. The Centre aims at break-ing women’s isolation and segregation, reinforcing women’s self-confidence and identity, through, among other things, language courses and other educational activities. At present the Women’s Centre in Tensta-Hjulsta has c 235 members. Its previous activities in cooperation with Tensta Konsthall include Tea and Cof-fee Salons, which started in spring 2012 and is an ongoing project which enables KTIH to present their members and their activities in the gallery. On Saturday 7 December, 12.00-17.00 KITH will hold their Christmas market at Tensta Kon-sthall. KTIH address: Glömmingegränd 31.

Tensta LibraryTensta Library opened in 1971, in

premises across from Tensta Centrum. When Tensta Träff was opened in 1984, the library moved in there. In conjunc-tion with the renovation of the library during the winter 2013 and spring 2014,

an extension library will open in the en-trance of Tensta Konsthall. The extension will mainly contain books dealing with local history and children’s literature. Also some of the library’s programme will move to the gallery – a book bus, and reading activities such as Bibblan berät-tar, Book-chat and Storytime.

Tensta underground station &Helga Henschen

Tensta Underground station was opened in 1975 by the king. On the same occasion, the period art piece, made by Helga Henschen, was unveiled. Henschen wanted the art in the underground sta-tion to be a celebration of the residents of Tensta – hence the theme, “A rose to immigrants. Solidarity, sisterhood.” The walls of the station are filled with naïvis-tic images and quotes. Eighteen signs with the word “Sisterhood”, written in equally many languages are placed along the tracks. Henschen wanted there always to be pictures done by children in the sta-tion. Therefore from 2013 to 2016 pho-tographs taken by students at the Ross Tensta Upper Secondary School will be on view in the station.

Helga Henschen was born in 1917 in

Stockholm. She was the granddaughter of the banker, Ernest Thiel, founder of the Thielska Gallery in Stockholm. She studied at the Art Academy in Stockholm in 1940-1945, with teachers such as Isaac Grunewald and Akke Kumlien. Hen-schen was active in the Cultural Workers’ Social Democratic Society, the Peace Movement and the World Brotherhood. Today her work may be found in several places, for example, in the collections at Moderna Museet and the Swedish Na-tional Museum. One of her sculptures was placed in the European Parliament in Brussels in 2001.

All activities concerning Helga Henschen, including a tour of Tensta underground station with Kent Malte Malmström, will take place in collabora-tion with Friends of Helga Henschen on Saturday, 16 November, and during the spring.

The Helga Henschen RoomVisit Café Grönligen and the Helga

Henschen Room, with paintings and other work by the artist, at Järva Folkets Park (People’s Park), Eggeby Gård (Egg-eby Farm). Open Monday-Friday, 11:00-16:00

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Tensta Museum: Reports from New Sweden20

Livstycket (The Bodice)The “Livstycket” Association is an

education and design centre, whose aim is to strengthen women’s position in soci-ety and to break isolation. Livstycket’s pedagogical method, applied for 20 years, has been based on the idea of combining learning Swedish with creativity, focusing on sewing, embroidery and textile print-ing. Their premises are across from Tenta Centre’s underground entry, behind the fruit market. Their shop is open 9:00–16:30, Monday-Thursday and 11:00–14:00 on Fridays. Their Christmas market will be held on Saturday, 30 November.

Schedule of Events

Sunday 13.1013:00–16:00 Tea and coffee at the Women’s Centre, Tensta Hjulsta at Nälsta Farm, Spånga Local Heritage Society premises in Spånga.

Saturday 26.1014:00 Opening, with a talk by Barakat Ghebrehawariat and poetry by Nachla Libre, both from Revolution Poetry. The philosopher, Boris Buden (Zagreb/Vienna) talks about how the concept of “cultural

heritage” has come about and is used. Vi-gnettes about 45 years in Tensta by Hatice Alkalini and poetry reading by Salon Tensta participant, Mohamed Cadimi. Formal opening of Tensta Museum: Re-ports from New Sweden by Fadumo Os-man, Somali Parents and Home Language Association.15:30 Art historian, Hans Öjmyr talks about Josabeth Sjöberg’s water colours (1812-1882). In cooperation with Stock-holm City Museum.

Sunday 27.1014:00 Ahmet Ögüt presents his project, The Silent University, which is part of Tensta Museum.15:00 Sabine Bitter & Helmut Weber pre-sent their project in the exhibition.

Monday 28.1018:00–20:00 The Silent University Lec-tures: Abdullah Al Soud, “Methods for learning a new language from the ground up”; X.A. “East Turkistan’s Educational System”, introduced by Ahmet Ögüt. At ABF, Stockholm.

Tuesday 29.1018:00–20:00 The Silent University Lec-

tures: Fahyma Alnablsi, “A comparison of Sharia and the Swedish political sys-tem”; Sherko Jahani, “Herodotus and the civilization of the Medes”, introduced by Ahmet Ögüt. At ABF, Stockholm.

Wednesday 30.1018:30 Architect Erik Stenberg presents his archive covering the Million Dwelling Pro-gramme in Tensta and talks about Tensta’s modern building history.

Thursday 31.1018:00–20:00 The Silent University lectures: Rebwar Fakhry, “The 1951 convention on the legal position of refugees”; Ahmad Alharahsheh, “LAN and WAN”, introduced by Ahmet Ögüt. At ABF, Stockholm.16:30 An evening with art and library his-tory at Kista library. The artist Hans Carlsson’s project, “Ar-toteket”, which is part of Tensta Museum and will be at Rinkeby library during the spring, comprises a platform for borrow-ing art. The work of artists Sarah Deger-hammar, Ingrid furre, Torsten Jurell, Lise Haurum, Malin Holmberg, Anna-Lena Jaklund, Sofia Kråka, Sanna Marander, Carl-Johan Rosén and Claes Tellvid is

included. During the evening the project will be presented in more detail and each of the participating artists will present their work.

Saturday 2.1115:00 Tensta walks, focusing on older his-tory, with the archeologist, Barbro Århem. In cooperation with the Stockholm City Museum.

Sunday 3.1114:00 Family Sunday – on the image of Somalia, based on the political satires of Amin Amir. With Ahmed Abdirahaman., Spånga Tensta district authority. In coop-eration with the Somali Parent and Home Language Association.

Wednesday 6.1118:30 Lecture by cultural geographer, Irene Molina on “How will it be when we exchange welfare for oppression? The role of politics in segregation processes in Sweden.”

Saturday 9.1113:00 Tensta walks, focusing on the out-door areas surrounding the Million Dwell-ing Programme buildings. With architect,

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Erik Stenberg. In cooperation with KTH Architecture.

Sunday 10.1114:00 Lecture by architect and housing researcher Sonja Vidén on “The Million Dwelling Programme – 1960’s housing dream”, about the ideas and research behind the programme and the growth of stereotypical views of it.

Wednesday 13.1118:30 Witness seminar, “Tensta’s Child-hood”, with Tensta residents Bo Werner and Lilian Larsell, housing researcher, Monica Andersson and Ricardo-Osvaldo Alvarado, former Tensta resident. In coop-eration with the Institute of Contemporary History, Södertorn University.

Thursday 14.1117.:00 Opening of a branch of Tensta Mu-seum and Katarina Lundgren’s project, which starts from Granholmstoppen on Järva Field at Stockholm City Museum.

Saturday 16.1115:00 The filmmaker and director, Babis Tsokas, shows his film on the artist Helga Henschen and talks about their meeting in

her studio in Duvbo. Afterwards a tour of Tensta underground station (45 min) with Kent Malte Malmström. In cooperation with the Friends of Helga Henschen.

Sunday 17.1114:00 An afternoon focusing on the his-tory of the Kurds in Sweden and in Tensta. In cooperation with the Kurdish Associa-tion Spånga.

Monday 18.1110:00–13:30 REHERSALS – eight acts about the politics of listening Act 1: What do we hear? The first act is organised together with Ultra Red, an international group that works at the intersection of sound art and politics. Due to the format of the acts we can only accept a limited number of participants, email rehersals-8acts@gmail.com to participate.

Wednesday 20.1118:30 Tanja Tuurala workshop, Salon Tensta\

Saturday 23.1115:00 The artists Thomas Elovsson and Peter Geschwind talk about their installa-tion Time-Space Shuttle (Apollo Pavilion),

which is part of Tensta Museum.

Wednesday 4.1218:30 Lecture by urban historian Håkan Forsell, “From city life to life style – hous-ing and the urban over a century.”

Saturday 7.1212:00–17:00 Christmas market at the Women’s Centre in Tensta Hjulsta – tex-tiles, jewellery and baked goods for sale.15.00: Petra Bauer and Sofia Wiberg talk about their project, “The Politics of Lis-tening”, in cooperation with the Women’s Centre in Tensta Hjulsta, which is part of Tensta Museum.

Sunday 8.1214:00 The artist Fernando Garcia-Dory talks about his project, done in collabora-tion with the artist Erik Sjödin, on art, farming and the countryside, which will be included in Tensta Museum’s spring activities. “Visions for the countryside”, a round table discussion will be arranged with reference to Hästa Farm’s activities on Järva Field.

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Tensta Museum: Reports from New Sweden22

Wednesday 11.1218:30 “Cool Million” – Terence Gower talks about his work with late modern housing areas in Mexico, the US and Sweden. His work Tlatelolcona is part of Tensta Museum. In cooperation with the Stockholm Association of Architects.

Thursday 12.1213:00–16:00 REHERSALS – eight acts about the politics of listening. Act 2: Power, body and space. with Carina Listerborn; professor in urban planning and design; urban and gender researcher, Malmö Högskola. Listerborn’s research addresses the relationship between power, bodies and space in relation to social sustainable urban development. Due to the format of the acts we can only accept a limited number of participants, email rehersals8acts@gmail.com to participate.

Saturday 14.1212:30 Talk with participants in Salon Ten-sta with assisting curator Ulrika Flink.

Saturday 14.1215:00 The artists’ collective, Järva Project, talks about their work with the red-listed fish, the Stone Loach, which lives anony-

mously in Järva Field, but which during the 1990s halted the exploitation of the area. The work is part of Tensta Museum.

Sunday 15.1214:00 Family Sunday - on images of So-malia, based on photos from Mogadishu before the civil war. With Ahmed Abdi-rahman, Spånga Testa district authority, and Hedvig Wiezell, Tensta konsthall. In cooperation with the Somali Parents and Home Language Association.

Saturday 21.1215.:00 Maria Lind, director of Tensta Konsthall, talks about the great interest of contemporary art in late modern housing projects.

As an extension of Tensta Museum: Re-ports from New Sweden Tensta Museum on the Move will take place at Galerija Nova, Teslina 7 in Zagreb, 16.12 2013–15.2 2014

The exhibition is realised as part of WHW’s project Beginning As Well As We Can (How do we talk about fascism?), co-organised with Tensta konsthall, Stock-holm, and Grazer Kunstverein.

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Tensta Museum: Reports from New Sweden is supported by Svenska Postkod-lotteriet and the Culture Programme of the European Union.

Tensta Museum: Reports from New Sweden24

svd.se

Tensta Museum, Spring 18 January–18 May 2014Lawrence Abu Hamdan, John Akomfrah, Arab Image Foundation, Marwa Arsanios, Tarek Atoui, Petra Bauer & Sofia Wiberg in cooperation with the Women’s Centre in Testa Hjulsta & Filippa Ståhlhane, Sabine Bitter & Helmuth Weber, Hans Carlsson, Thomas Elovsson & Peter Geschwind, Fernado Garcia Dory and Erik Sjödin, Barakat Ghebrehawariat with Revolution Poetry (Yodit Abraha-Girmay & Mustafa Kibar), Heidrun Holzfeind, Järva Project, the Kurdish Association Spånga, Lisa Kings, Behzad Khosravi Noori & René León Rosales, Bernd Krauss & Nina Svensson, Katarina Lundgren, Helena Mattsson & Meike Schalk, Irene Molina, Marion von Osten, Solmaz Shahbazi & Tirdad Zolghadr, Spånga Local Heritage Society, STEALTH unlimited & Peter Lang, Elin Strand Ruin, Adam Tensta, the Women’s Centre in Tensta-Hjulsta, Forian Zeyfang & Lisa Schmidt-Colinet & Alexander Schmoeger, Ahmet Ögüt

Tensta konsthall staffFahyma Alnablsi, hostessEmily Fahlén, mediatorUlrika Flink, assistant curatorAsrin Haidari, communication and pressMaria Lind, directorPaulina Sokolow, communication and pressHanna Svensson, assistant/mediatorHedvig Wiezell, producer

Hosts Nora ChakerLars HedelinEvelina HedinBruno HilbomboCarl-Oskar LinnéMasha Taavoniku

Installation teamThomas ChaffeJoyce IpSean O’ConnorPontus StråhleJohan Wahlgren