Irit Rogoff and Beatrice von Bismarck, “Curating/Curatorial,” in Cultures of the Curatorial, ed. Beatrice von Bismarck, Jörn Schafaff, and Thomas Weski (Sternberg Press, 2012), 24.
Rogoff and von Bismarck, “Curating/Curatorial,” 23.
Chantal Mouffe, On the Political (Routledge, 2005).
See Tensta Museum, ed. Maria Lind (Sternberg Press and Tensta Konsthall, 2021).
Mary Louise Pratt, “Arts of the Contact Zone,” in Ways of Reading, 5th edition, ed. David Bartholomae and Anthony Petroksky (Bedford/St. Martin’s, 1999). Pratt describes contact zones as “social spaces where cultures meet, clash and grapple with each other, often in contexts of highly asymmetrical relations of power.”
James Clifford, Routes: Travel and Translation in the Late Twentieth Century (Harvard University Press, 1997). Clifford specifically discusses the museum as a contact zone.
Clifford, Routes, 212.
Clifford, Routes, 204, 200, 202.
For more on conflict zones, see Nora Sternfeld, “Memorial Sites as Contact Zones: Cultures of Memory in a Shared/Divided Present,” Transversal, December 2011 →.
Nick Srnicek and Alex Williams, Inventing the Future: Postcapitalism and a World Without Work (Verso, 2015), 10.
George Katsiaficas, “Eros Effect,” 1989 →.
Other parts of the “Eros Effect” series at Tensta Konsthall have been an inaugural symposium with, among others, Kodwo Eshun of the Otolith Group, Doreen Mende, Mathieu Kleyebe Abonenc, and Dmitry Vilensky of Chto Delat; a film commission by Filipa César; a mini-exhibition and a seminar entitled “Excavating International Solidarity: Artist Actions, Museography and Exhibition Histories”; and Naeem Mohaiemen’s solo presentation “You Don’t Have to Understand Everything.”
This text is based on a paper presented at e-flux in 2017 in response to the premise “current political circumstances have made us think again about what it means to share knowledge in a clear and direct style.”