Nygren’s news and audio

Radical Thinking Series with the playful Judith Hopf, 21 Nov 2007

Posted in Discussions by admin on the November 26th, 2007

Judith Hopf / Deborah Schamon, Hospital Bone Dance, 2006, film still. Photo: Achim Hatzius 

Audio documents from discussion with Judith Hopf in dialogue with Hinrich Sachs after screening some of her video works.

Recorded at Kulturhuset, Studio 3, Stockholm, Sweden within the Radical Thinking Series
Wednesday Nov 21 october 2007 18.00-21.00

backup at archive.org

Gesamtkunstwerk: Who Makes and Owns Your Work launching at Årsta, Sat 17th November

Posted in Discussions by admin on the November 13th, 2007


The project “Who Makes and Owns Your Work” is finally making itself visible for the “public” at Årsta – Folkets Hus, Stockholm, on Saturday 17th November. (Schedule is here) Among many artists initiatives within this umbrella project most notably is the participation of Piratbyrån, which has already created some evolving discussion. Piratbyrån is an organisation promoting a more loose non-profit attitude for distribution of information. However already in print we had to make a small adjustment in providing the folder with a round sticker over the Piratbyrån’s logo. As lawyer from Konstnärsnämnden speaks (swe) in a letter to the project manager at IASPIS:

“..Det är viktigt att förstå att de ”rådande uppfattningar om upphovsrätt” som Piratbyrån verkar emot, inte är allmänna åsikter utan gällande svensk lag. Upphovsrättslagen ger varken enskilda eller organisationer rätt att kopiera material på det sätt som förespråkas utav Piratbyrån. Kopiering i strid med upphovsrätten är straffbart. ”Upphovsrättsindustrins lobbygrupper”, som Piratbyrån refererar till kan säkert på olika sätt, i den mån de existerar, ifrågasättas. Viktigt att komma ihåg i sammanhanget är dock att ”upphovsrättsindustrin” följer gällande lagstiftning…”

“..Att arrangera en paneldebatt i vilken företrädare för Piratbyrån deltar tillsammans med företrädare för BUS och en professor i immaterialrätt är att låta flera åsikter och uppfattningar komma till tals. Detta är bra och helt förenligt med myndighetens verksamhet…”

“..Att låta Piratbyrån stå som ensam arrangör för visning av en opinionsbildande film om ett tillslag mot ett företag som begår upphovsrättsintrång är inte förenligt med regeringens krav på myndigheter att inte driva opinion. En högst försvårande omständighet är naturligtvis att filmen kritiserar polisiära ingripanden mot lagöverträdare. För att Konstnärsnämnden ska kunna medverka till att denna film visas krävs en kraftig förändring utav programpunktens utformning. Till exempel kan filmen förhandsvisas för Henrik Pontén som kan få i uppdrag att ge en introduktion till filmen i vilken han redogör för bakgrunden och händelseförloppet. Filmen bör även åtföljas av en paneldiskussion med en moderator – som naturligtvis måste vara antingen neutral i frågan, eller upphovsrättsförespråkare – där upphovsrättsförespråkare bör vara i majoritet bland paneldeltagare…”

“..Att ta emot sponsring utav Piratbyrån, och låta organisationens logotyp stå sida vid sida med Konstnärsnämnden och Konstfack, är att legitimera Piratbyrån på ett sätt som är oförenligt med Konstnärsnämndens uppdrag som verkställare av regeringens politik…”

Ia Modin
handläggare / jurist konstnarsnamnden.se

For more on this issue read some personal comments from Rasmus Fleischer’s blog Copyriot, entertaining reading for some, maybe harsh to Ia, though.

Check this page at artliberated.org as well (that got inspired from my eastern egg interpretation)

This eastern egg trick is very easy to do! click on the image!

I’m documenting the event as well as making interviews the week after and making an edited “artist-document” after the event as well.

Audio cast (in Swedish) for this entry is the latest planning meeting before the event at Årsta Café. Tuesday 13th Nov (Which discusses among other things the issues with Piratbyrån’s participation and the directives from Ia Modin (Konstnärsnämnden). It also puts some light into how meetings, discussions and some collaboration can make a Gesamkunstwerk)

12:30-13:00 Arrival at Årsta Centrum – coffee/tea at Javasavi café
13:00-13:15 Welcome to Who Makes and Owns Your Work. Opening Speech by Karl Rossmann at Årsta
13:15-16:15 Public Consultation Event. Discussion on the current copyright debate. Moderators: Dr. Jaime Stapleton, Associate Research Fellow of the School of Law, Birkbeck College, University of London, and Anna Eineborg, artist, Stockholm. Participants: Marianne Levin, professor of intellectual law, Stockholm University; Rasmus Fleischer, Ph.D. student at Södertörn University College, Mats Lindberg, director, BUS (Visual Arts Copyright Society in Sweden). In Årsta Folkets Hus’ theatre.
16:15-16:45 Coffee/tea break and exhibition in Årsta Folkets Hus’ foyer
16:45-17:15 Brief presentation of projects within Who Makes and Owns
Your Work (see list below), in Folkets Hus’ Cinema
17:15-18:05 Andreas Mangione and Filmklubben present Potere Operaio
(1970), a film by Carl Henrik Svenstedt, 30 min, and Interview with Carl Henrik Svenstedt (2006) 20 min.
18:15-19:20 Film Screening Steal this Film, part 2, 60 min, presented by artist Palle Torsson, artist and PhD candidate at Linköping University and Rasmus Fleischer, PhD candidate at Söderntörn University College. 1
19:20-20:00 Joint discussion based on the film screenings and other projects. Invited guests are Mats Lindberg, director, BUS, Ia Modin, lawyer, responsible for the study of the social and economic conditions of artists, The Swedish Arts Grants Committee and Henrik Pontén, lawyer Swedish Anti Piracy Agency.
20:00-21:30 Refreshments in Folkets Hus’ foyer
21:30 – Artists Eileen Simpson and Ben White (Open Music Archive) present a live electronic set including performances by Per Åhlund and Mathias Josefson (Fylkingen)

and yes the movie Steal This Film II (cam version) got online somehow ;) stf_ii_dl.png

Now when most media is munching in a pathetic proclamation for an extreme-conservative attitude of the copyrights. I hope we can produce an event with discussions that distribute some more realistic claims for the platform of future cultural production than what the old model is supposed to do.

Polarising a little bit here: the art world and its special system of distribution of energical-data might serve as a refresher in the sense that it seems to bee quite traditional in the issues of copyright parameters (which has been marked symbolically from Ia Modin). The object uniqueness and the property of the original from the master is one of the basic foundations in how the art market works today. However in contrast, the system as is it is today might even be so rigid (or fantastic) that it is almost impossible to distribute “real art” in an encoded format because of its time-space, spatial, social and ritual components. One aspect of the ritual is that the intentionality of the producer is so magically connected so if an art piece is distributed to a exposure possibility that would be a negative experience for the artist then this would be taken into account of the shamanic gift-alike wisdom that is so integrated in the art experience, however funny distortions of this phenomena would pop up over time between production time and exposure time. Music and video which can easily be encoded into vibrational/RGB-pattern instructions without to much loss of meaning might even act as an contrast to the ever evolving complex properties in what constitutes an art piece today and what it means to experience it.

Though, one would hardly consider the procedure in the DNA/RNA process of copying itself as a crime against the originality of your body. Copying and distribution is a natural process of the kosmos. As the arrow of time moves on, the ease of distribution and exchange of information will be likely much more accessible than it is today (consciousness wise) Implies this an age of transformation from power to ethics?

audio backup at archive.org

Audio documents from dialogue between John Akomfrah and Florian Zeyfang at Kulturhuset, 31th Oct 2007

Posted in Discussions by admin on the November 1st, 2007



An international lecture series tracing artists’ involvement with history, politics, and popular culture through the use of film and broadcast media. each evening includes a film screening and a talk by the artist.

Signs of Empire
This is a rare opportunity to hear John Akomfrah introducing the work of the Black Audio Film Collective formed in 1982 in London. The Collective produced some of the most experimental documentaries in Britain in the 80s and 90s. They have profoundly influenced contemporary avant-garde filmmakers and artist. Screening includes Handsworth Songs, 1986, 60min.

Organised by Kulturhuset, Timeline Konstfacks Videotek, Mejan and KHS Umeå. A collaboration between Marysia Lewandowska, Hinrich Sachs and Florian Zeyfang.


This town, is coming like a ghost town
Why must the youth fight against themselves?
Government leaving the youth on the shelf
This place, is coming like a ghost town
No job to be found in this country
Can’t go on no more
The people getting angry

In this discussion with John Akomfrah (followed after the screening of the hard to find Handsworth Songs, 1986) there were some interesting similarities in how the “terrorists” (the importance of finding someone to blame) are looked upon and treated today. Even though Akomfrah did not mention the implications of the internet based “make your own broadcast”-culture today and its implications one had a nice sessions about the narrative and the problems of making a progressive documentary on suppressed citizens and their paradoxical conditions.

The Black Audio Film Collective was formed in Hackney, London in 1982 by John Akomfrah, Reece Auguiste, Edward George, Lina Gopaul, Avril Johnson, David Lawson and Trevor Mathison. It was one among many such collectives founded in Britain during the early- to mid- 1980s – including Sankofa, Ceddo and ReTake. This period was characterised on the one hand by the founding of Channel Four and the ACCT Workshop Declaration (both 1982), which encouraged innovative independent work, and on the other hand by the increasingly free market ideology of Thatcherism. The Collective was at the forefront of debates about the politics of representation: their work argues that ‘”their racial identities grow out of their social and political histories; they call for a recognition that these racial differences are multiple and complex… they interrogate their own images to confirm their histories” (Jackson and Rasenberger, p. 24). ref


Audio backup at archive.org

Caution: be aware of a 20 sec naughty mobile sound 3 min into the discussion