WE ARE THE REMIX

ENGLISH Rรถda Sten Konsthall 10.6 - 20.8 2017 #WEARETHEREMIX

WE ARE THE REMIX. Installation: MUSEEA. Photo: Hendrik Zeitler

Nastivicious – ACTS, 2012. Video still

WE ARE THE REMIX Halil Altindere (TR) Korakrit Arunanondchai (TH) Jeremy Deller & Cecilia Bengolea (UK/AR) Carsten Höller & Måns Månsson (BE/SE) Vincent Moon & Priscilla Telmon (FR) Nastivicious (AO/ES) Rachel Maclean (UK) Anne de Vries (NL) Installation: MUSEEA / Sofia Hedman & Serge Martynov (SE/UK) Röda Sten Konsthall, 10 June - 20 August 2017 #WEARETHEREMIX

WE ARE THE REMIX is an international film and video exhibition, that explores and celebrates the diversity of global, cultural identities, as they are manifested through the compelling interplays between moving image and music.

It features eight remarkable audiovisual works created by some of the most distinguished and talented artists and filmmakers of today. With highly inventive approaches to the layering of images and sounds, the artists incorporate genres such as music video, documentary, animation and fairytale. The works all emphasize the role of music whilst expanding and amplifying the nature of our encounter with images.

WE ARE THE REMIX takes us on a journey through wondrous, soulful and imagined worlds, conveying a multiplicity of stories from across the globe. We meet, for example, a group of denimclad youngsters rapping in the streets of Bangkok; a impromptu Jamaican reggae beats dance competition; a religious Brazilian community practicing sacred rituals; and we become one with a massive crowd at a hypnotizing electronic music concert. By mixing hybrid stories of political reality and futuristic fantasy, commercial pop culture and spiritual rituals, the works come together - in all their differences - to celebrate the universal and unifying power of music in the shaping of cultural identity.

The Barcelona-based artist and design duo MUSEEA - consisting of Sofia Hedman and Serge Martynov - have completely transformed the cavernous second floor Cathedral space of Rรถda Sten Konsthall.

Bursting with color and texture, the space unfolds as an immersive and welcoming architectural environment - functioning as a social meeting place. On a large screen in the middle of the space five of the films are shown in a repeating loop. The remaining works are placed in two separate pavilions and on the third floor. Visitors are invited to immerse themselves in the environment, explore the balcony with views of the artworks and the Gรถta river, and take a refreshment from the kiosk, while diving into the videos.

- Aukje Lepoutre Ravn, Curator, Rรถda Sten Konsthall

HALIL ALTINDERE Homeland, 2016 Since the mid-1990s, Halil Altindere has emerged as one of the most prominent contemporary Turkish artists, working in opposition to the country’s repressive and nationalist developments. Within his multifaceted practice - ranging from video, sculpture, photography, installation and performance Altindere exposes and calls for resistance against the political, social and cultural codes in Turkey that enforce marginalization.

Halil Altındere’s recent video work Homeland features Syrian rapper Mohammad Abu Hajar’s powerful account of the trials and tribulations of refugees trying to reach Europe and to be welcomed in Germany. Shot in a music video style that blends both realism and fantasy, Homeland also incorporates scenes based on real-life footage. It opens with images of refugees crossing a border through an area peppered with landmines. They perform parkour-feats to overcome fences, flipping and flying over barbed wire, as if in a superhero movie. The narrative continues through the hidden waterways of Istanbul, absurd luxury yoga retreats and concludes at the Tempelhof complex in Berlin, a former airport and now a refugee camp.

Linked to the wave of pro-democratic uprisings that erupted across the Middle East in the wake of the Arab Spring, Halil Altındere’s Homeland demonstrates that the refugee crisis can be addressed without the usual misery clichés, while spotlighting instead the transformative will and power of the people.

Halil Altindere – Homeland, 2016. Video stills

HALIL ALTINDERE (b. 1971, Mardin, Turkey) is a multi-media artist based in Istanbul, Turkey.

His work has been the subject of solo exhibitions at n.b.k., Berlin, DE (2016); MoMA PS1, New York, USA (2015), and Kunstpalais Erlangen, DE (2015) among others. In addition, Altindere has participated in the 9th Berlin Biennale (2016); the 31st Bienal de Sao Paulo (2014); the 13th Istanbul Biennial (2013); Documenta 12, Kasel (2012) as well as Manifesta 10, and the Gwangju, Sharjah, Kiev, and Cetinje Biennials. Since the mid-90s Altindere’s works have been exhibited in major museums including: Maxxi, Rome, IT; Centre Pompidou, Paris, FR; ZKM, Karlsruhe, DE; MAK, Vienna, AU; The Moscow Museum of Modern Art, Moscow, RU; MaMbo, Bologna, IT; Istanbul Modern, Istanbul, TR; CCBB Rio de Janeiro, BR; Petach Tikva Museum of Art, Petach, Tikva, IL and ACC, Gwangju, CN - among others.

Homeland, 2016 HD video, color, sound, 10.06 min Vocals and lyrics by Mohammad Abu Hajar Music by Nguzunguzu Courtesy of the artist and Pilot Gallery, Istanbul

Commissioned by Berlin Biennale for Contemporary Art with the support of SAHA Association

Halil Altindere – Homeland, 2016. Installation view. Photo: Hendrik Zeitler

JEREMY DELLER & CECILIA BENGOLEA Bom Bom’s Dream, 2016 Jeremy Deller is an English conceptual artist known for making most of his art in close collaboration with other people. Described as “an instigator of social intervention”, he organizes and produces a broad range of projects, which are documented through installations, videos, publications and recordings. Throughout his career, music and sound have played an extensive role in Deller’s work. Fueled by this interest, he has produced several documentaries about live bands, concert culture and Folklore in Britain.

Bom Bom’s Dream is Deller’s most recent video work made in collaboration with Argentinian performance artist Cecilia Bengolea. It is their second film and features an original soundtrack

by Deller. The story follows the fantastic adventures of a Japanese dancer known as Bom Bom who is celebrated for her gymnastic, slapstick dance moves and yellow curly hair. For nine months of the year Bom Bom is a children’s book illustrator living in Japan.

For the other three she lives in Jamaica, dancing to the intense

Jeremy Deller & Cecilia Bengolea – Bom Bom's Dream, 2016.

Installation view. Photo: Hendrik Zeitler

rhythms of reggae-tone in impromptu dancehall competitions.

Narrated humorously by a larger-than-life chameleon, Bom Bom’s journey takes us through a surreal visual landscape of clouds, playgrounds, jungles and clubs, culminating in a real outdoor dance-off.

Like many of Deller and Bengolea’s individual works – not least Deller’s 2006 film about the international fan base of the English band Depeche Mode – Bom Bom’s Dream explores the social character of rituals related to popular music. With its colorful animated sequences and playful twists, Bom Bom’s Dream is a testament to the vibrant relationships between contemporary music and dance in Jamaican culture.

JEREMY DELLER (b. 1966, London, United Kingdom) is an internationally acclaimed British artist based in London. He has exhibited extensively across the world. Amongst his most known works are Battle of Orgreave (2001), a reenactment of the actual Battle of Orgreave which occurred during the UK miners’ strike in 1984. In 2004, Deller won the prestigious Turner Prize and in 2013 he represented Britain at the 55th Venice Biennale with the project English Magic. He is currently shortlisted for the inaugural High Line Plinth commission in New York City and will present a culmination of his 10-year project for the Skulptur Projekte Münster, 2017.

CECILIA BENGOLEA (b. 1979, Buenos Aires, Argentina) is a dancer and performance artist based in Europe. Since 2001, she has been working as a dancer, writer, choreographer and singer.

Her work addresses reflections on anthropological dance and are represented in paroxysmal performances, both modern and primitive, civilized and pre-civilized. She has also collaborated with several visual artists in addition to Jeremy Deller including Dominique Gonzalez-Foerster and Damion Wallace.

Bom Bom's Dream, 2016 HD Video, 12:30 min.

Courtesy of the Artists and The Modern Institute / Toby Webster Ltd, Glasgow

Co-commissioned by Hayward Gallery, 32nd Bienal de São Paulo and The Vinyl Factory, and co-produced by ThyssenBornemisza Art Contemporary

Jeremy Deller & Cecilia Bengolea – Bom Bom's Dream, 2016. Installation view. Photo: Hendrik Zeitler

KORAKRIT ARUNANONDCHAI Painting with history in a room filled with people with funny names 3, 2016 The Bangkok-raised artist Korakrit Arunanondchai creates vibrant pastiches of styles and mediums taking the form of body painting, performance, music video and installation. In his practice, Arunanondchai draws on an eclectic array of references from art history, technology and pop culture – such as Thailand’s Got Talent - but also from Buddhist spirituality and its contemporary manifestations in Thailand. From here, he investigates the constant blurring between fantasy and reality, in a cultural mix of tradition and modern life.

Korakrit Arunanondchai – Painting with history in a room filled with people with funny names 3 2016. Video still

Painting with history in a room filled with people with funny names 3 is the epilogue to a series of coherent works, created by Arunanondchai during the past four years. Primarily shot from the bird’s eye perspective of a drone, the storyline is centered around a young, Thai painter - an autobiographical character played by the artist himself. The film is a poetic and playful dialogue between diverse components that make up the life of the painter and the reality he inhabits: the concrete jungle of Bangkok, the

Korakrit Arunanondchai – Painting with history in a room filled with people with funny names 3 2016. Video still

surrounding nature and its animal life, his entourage of denim-clad youngsters - and the drone, a metaphoric embodiment of the spirit Chantri.

Describing his work as “poetry in secondhand jeans”, Arunanondchai voices a soulful longing of a generation, his own.

While celebrating solidarity, connectivity and the merging of art and life, he searches for a higher meaning, ultimately questioning his own role as an artist.

KORAKRIT ARUNANONDCHAI (b. 1986, Bangkok, Thailand) lives and works in New York and Bangkok. He earned a BFA from the Rhode Island School of Design, 2009 and a MFA from Columbia University, 2012. Since 2010 Arunanondchai has had several solo exhibitions at C L E A R I N G gallery in New York and Brussels. Other solo exhibitions include: Museion, Bolzano, Italy; S.M.A.K, Ghent, BE; Ullens Center for Contemporary Art, Beijing, CN; Palais de Tokyo, Paris, FR (2015); Museum of Modern Art, Warsaw, PL (2014) and MoMA PS1, New York, USA (2013). Recent group exhibitions include: Berlin Biennale, DE (2016); Sydney Biennale, AU (2014); Beware Wet Paint, ICA, London, UK and Fondazione Sandretto Re Rebaudengo, Turin, IT; High Desert Test Sites, Joshua Tree, USA and Double Life, Sculpture Center, New York, USA.

Painting with history in a room filled with people with funny names 3, 2016

HD video, 24:55 min.

Courtesy of the Artist and C L E A R I N G

Korakrit Arunanondchai – Painting with history in a room filled with people with funny names 3, 2016. Installation view. Photo: Hendrik Zeitler

NASTIVICIOUS ACTS, 2012 Nastivicious is comprised of the multifaceted artists Nástio Mosquito and Vic Pereiró, who have collaborated in a variety of forms since 2010. Their work brings together music, video, installations and performance in unmistakably personal ways.

Often Nástio Mosquito's voice and body are placed at the center of their multimedia propositions. Their practice revolves around the theme of cultural inheritance, which runs counter to limiting concepts of tradition and identity. Intrigued by the different verbal, musical and visual forms of language, the artists creates engaging public performances in which politics and entertainment become complementary.

The work included in this exhibition is titled ACTS. In four different acts the audience is exposed to Mosquito’s dancing silhouette set against a spectrum of colored backgrounds.

Mosquito performs a series of iconic popular songs acapella such as Bob Marley’s ‘I Shot the Sheriff’ and Prince’s ‘Purple Rain’.

Starting out each song in a classic karaoke format, Mosquito slowly alters his performance style to become progressively more un-melodic and uncomfortable. Intermittently mixing his native language into the song, it ultimately sounds like exasperated cries that resemble protestations in Portuguese.

As Nastivicious often employs the aesthetics of music videos and infotainment television, their works can feel lite and easily digestible, while unveiling layers of insight and subliminal provocation.

Nastivicious – ACTS, 2012. Video stills

NASTIVICIOUS are Nástio Mosquito (b. 1980, Angola) and Vic Pereiró (b. 1976, Spain) and have collaborated in a variety of forms since 2010. Their recent exhibitions and performances include: METANEO, Espai d’art contemporary de Castello, ES (2016); Daily Lovemaking, Venice Biennale, IT and Ikon Gallery, Birmingham, UK (2014); Göteborg International Biennial for Contemporary Art, Gothenburg, SE (2015); …all silent but for the buzzing…, RCA London, UK (2014); 9 Artists, Walker Art Center, Minneapolis, MN, USA (2013).

ACTS, 2012 HD video, 12:17 min.

Courtesy of the artists

Nastivicious – ACTS, 2012. Installation view. Photo: Hendrik Zeitler

ANNE DE VRIES Critical Mass: Pure Immanence, 2015 Anne de Vries is a Dutch artist working within the boundaries of digital photography, video and sculpture. De Vries is interested in how our understanding of reality is influenced by new media and digitization. He examines how matter and information are constantly impacting one another and thereby affecting our lives.

In Critical Mass: Pure Immanence, de Vries probes the emotionally charged esotericism of huge electronic dance music events. In this case, those dedicated to the genre known as Hardstyle. This genre evolved from the subculture of electronic music in the 1970s, whose tracks were aimed at empowering and uniting its small (often queer) and alternative communities. Today these forms of electronic dance events have developed into monumentally staged, mass-culture productions promoted by companies such as Q-dance.

In the film tens of thousands of bodies are gathered together at a spectacular stadium concert, shifting from real life bodies to animated lemmings. Emphasized with the zoom-in, zoom-out style of a sporting event camera, the audience is experiencing the concert through the matrices of their iPhone cameras. A text inspired by the essay “Pure Immanence� by French philosopher Gilles Deleuze runs throughout the film. As an invigorating God-like voice-over, the text explores and explains the philosophical dimension of crowd-based experience.

Critical Mass: Pure Immanence is a hypnotic, unsettling articulation of altered states of consciousness generated by sound and visual effects. It celebrates synthetic music and the convergence of philosophy and entertainment culture.

Anne de Vries - Critical Mass: Pure Immanence, 2015. Detail, video still

ANNE DE VRIES (b. 1977, The Hague, Netherlands). He lives and works in New York, NY and Berlin, Germany. He is also a writer and is a Professor at the University of Art and Design ECAL Lausanne, CH, teaching a Masterclass on “Contemporary Art and Photography”. Exhibitions include: ZKM in Karlsruhe, DE (2017); The 9th Berlin Biennale, Berlin, DE (2016); Cell Projects, London, UK (2015); Parc Saint Léger, Centre d’art Contemporain, FR (2015); Museum Angewandte Kunst in Frankfurt am Main, DE (2015); Foam Museum, Amsterdam, NL (2015); Manifesta Foundation, Amsterdam, NL (2014); Three Shadows Museum, Beijing, CN (2014); The Moving Museum, Istanbul, TR (2014); Palais de Tokyo, Paris, FR (2012); Centre Culturel Suisse, Paris, FR (2012); New Wight Biennale, Los Angeles, CA, US (2012); Based in Berlin, DE, (2011) and many others.

Critical Mass: Pure Immanence, 2015 Video, full HD, 11:21 min.

Camera, Video edit, Lyrics and Music arrangement by: Anne de Vries and Q-dance

Including: Surge, Music by Phill Niblock, Thomas Ankersmit playing Serge synthesizers.

Anne De Vries - Critical Mass: Pure Immanence, 2015. Installation view. Photo: Hendrik Zeitler

VINCENT MOON & PRISCILLA TELMON Flor Da Montanha / Feitio, 2017 Vincent Moon and Priscilla Telmon are a collaborating artist duo working as independent filmmakers and sound-explorers.

Together they produce ethnographic experimental films and music recordings, that are based on material collected from their numerous travels. Encompassing local folklores, sacred music and religious rituals their films portray the diversity and richness of musical culture in the world.

Since 2013, Moon and Telmon has been based in Brazil, engaging themselves in their most comprehensive project to date titled HÍBRIDOS: The Spirits of Brazil. HÍBRIDOS (meaning hybrids) is a trans-media project and ethnographic study of current day religious cults in Brazil. Through hundreds of recordings from all over the country, their films portray the heart of Brazilian culture as a constant flux and mix of tradition and modernity, spirituality

Vincent Moon & Priscilla Telmon – Flor Da Montanha / Feitio, 2017. Video still

and music.

In WE ARE THE REMIX Moon and Telmon are showing Flor da Montanha / Feitio – an extract from the HÍBRIDOS project. It is a short film on the making of Ayahuasca – a potent Amazonian brew that has long been used by indigenous people in South America as an integral part of their cosmological vision. In Brazil, the Catholic Church of Santo Daime uses the brew as its sacrament. In the film, we follow a 'feitio', which is one of Santo Daime’s main rituals.

In this tradition, the leaves from the Chacruna plant that produce Ayahuasca are harvested and cleaned by women, while the vines are cut and prepared by the men. Characteristic for the process, which can last up to seven days, is the constant presence of singing and rhythmic music.

Flor da Montanha / Feitio offers a unique insight into a sacred ritual that connects body and spirits though healing songs – and demonstrates the omnipresent role of music.

VINCENT MOON (b. 1979, Paris, France) is an independent French filmmaker and sound explorer.

From 2006-2009 he was the main director of the Blogothèque's “Take Away Shows”, a series of improvised outdoor video sessions with musicians, set in unexpected locations and broadcast freely on the web. In four years, he shot over 200 films featuring artists such as R.E.M., Beirut, Sigur Ros and Arcade Fire. For the last decade Moon has been traveling the globe recording and documenting sacred music and religious rituals for his label Collection Petites Planètes. In his quest for original sounds and music, from stadium rock music, experimentations in electronics to acapella village songs and rare shamanic rituals, Moon produces ethnographic experimental films, and music recordings. He shares all his films for free on the internet under a Creative Commons license. See more of his films at www.vincentmoon.com PRISCILLA TELMON (b. 1975, Paris, France) is a French photographer, cinematographer, writer and member of the Society of French Explorers. Since 2000, she has dedicated herself to long trips all over the world combining history and adventure, by paying homage to the wisdom, tradition and mystery of the world’s diverse cultures. She is particularly interested in topics such as ecology, sacredness and shamanism. Telmon has also published several books, films, international reporting, and exhibited her work in museums such as Musée du Quai Branly, Paris and Artcurial, Paris. www.priscillotelmon.com

Flor Da Montanha / Feitio, 2017 Extract from HÍBRIDOS: The Spirits of Brazil

HD video, 23:55 min.

Vincent Moon & Priscilla Telmon – Híbridos. The Spirits of Brazil, 2017. Live performance. Photo: Hendrik Zeitler

RACHEL MACLEAN It’s What’s Inside That Counts, 2016 Scottish artist Rachel Maclean uses the fairytale genre to examine the murky boundary between childhood and adulthood. She creates extravagant, artificial and surreal fantasy worlds, that parody generic pop culture found in children’s television programs, beauty product advertising and internet videos. Often her works present an imbedded desire to destabilize gendered power dynamics and oppressive societal structures. Maclean transforms herself using green-screen technology, spectacular costumes and computer graphics to play each and every character in her work.

It’s What’s Inside That Counts presents a caricatured critique of consumer society, focusing particularly on technology dependency.

The scene is set in a dystopian metropolis fueled by fevered connectivity. The narcissistic Kardashian-looking celebrity figure named Data - who seems more cyborg than human - is feeding a desperate crowd of underworld rodents with selfies and internet cables. In a world appearing as part Baroque heaven, part post-

Rachel Maclean – It's What Inside That Counts, 2016. Video still

apocalyptic nightmare, the grotesque and cartoonish figures desperately compete for Data’s attention. However, one day they hack her system, infest her precious data and all hell breaks loose.

Simultaneously appealing and repulsive It’s What’s Inside That Counts unfolds a bleak vision of society that exaggerates contemporary preoccupations and behaviors. By bombarding us with disturbing imagery and preying on our anxieties, it mimics the same marketing techniques that many global corporations use to sell well-being, youth and happiness.

RACHEL MACLEAN (b. 1987, Edinburgh) is a Glasgow-based multi-media artist. Since graduating from Edinburgh College of Art in 2009, Rachel has exhibited across the UK and internationally.

Recent exhibitions include: Wot u :-) ?, HOME, Manchester and Tate Britain, London (2016-17); British Art Show 8, UK touring exhibition (2015); Ok, You’ve Had Your Fun, Casino Luxembourg (2015); Please, Sir..., Rowing, London, UK (2014); The Weepers, Comar, Mull, (2014); Happy & Glorious, CCA, Glasgow, UK (2014). Recent screenings include: Feed Me at Athens and Luxembourg Film Festival (2016); Moving Pictures, British Council and Film London, UK (2015-16); Lolcats, Impakt Festival, Utrecht, NL (2014). Maclean is representing Scotland at the Venice Biennale 2017 with the newly commissioned work Spite Your Face, on view in Chiesa Santa Caterina until November 26, 2017.

It’s What’s Inside That Counts, 2016 1-channel video, HD, color and sound, 31:18 min. Music and songs composed by Finn Anderson.

Written and Directed by: Rachel Maclean All parts performed by: Rachel Maclean Assistant Director: Bren O’Callaghan Executive Producer: Sarah Perks Producer: Bren O’Callaghan Assistant Producer: Laura Heberton Director of Photography: David Liddell 1st Assistant Camera: Steven Cook Gaffer: Derrick Ritchie Make-up & prosthetic application: Kat Morgan Costume & Prop Designer: Rachel Maclean Costume & Prop Assistant: Lucy Payne, Eilidh Page Morrissey Costume Assistants (Texas): Deirdre Ford, Javier Gonzalez, Barbara Miñarro, Angel Mitchell, Jayne Valverde Audio production & composer: Julian Corrie Songs written and produced by: Finn Anderson Script Editor: Andrew Cattanach

Commissioned HOME, University of Salford Art Collection, Tate, Zabludowicz Collection, Frieze Film and Channel 4.

Voice actors: Young woman (spoken): Andrea Flowers. Young woman (sung): Mikaela Kahn.

Happy Man: Frank Mosley. Rats and Servant: Kirsty Strain.

Runners: James Findlay, Colin Maclean, Eilidh Page Morrison.

Editor and VFX: Rachel Maclean Director’s Assistant and VFX: Colin Maclean VFX Assistant: Eilidh Page Morrissey Subtitles: Colin Maclean Studio facilities: Swamp, Glasgow Recording facilities: Sonido, Glasgow. Orb, Austin, Texas With Special Thanks To: Bren O’Callaghan, Sarah Perks, Tomas Harold, Elisa Ruff, Alice Wilde at HOME, Andy Peline at Swamp Media, Catriona Maclean Copyright 2016 Rachel Maclean

Rachel Maclean – It's What Inside That Counts, 2016. Installation view. Photo: Hendrik Zeitler

CARSTEN HÖLLER & MÅNS MÅNSSON Fara Fara, 2014 Fara Fara is a collaboration and photographic account of German artist Carsten Höller and Swedish cinematographer Måns Månsson’s journey to the Democratic Republic of the Congo to document the history and culture of fara fara music.

"Fara fara" means face-to-face in Lingala and is a musical phenomenon deeply rooted in Congolese culture. A musical battle is played out between two proponents of Congolese contemporary rumba. Two groups play and dance simultaneously at adjacent locations. The team who endures the longest wins. Historically, it is said that tribal disputes were sometimes settled in this way.

Nowadays a fara fara signifies musical superiority and takes place very rarely.

In Höller and Månsson’s presentation a fara fara between two contemporary megastars from Kinshasa’s vibrant music scene Koffi Olomide and Werra Son - is shown on two screens, one for each musician. We see them rehearse, prepare and finally perform together with their respective bands. Each artist tries to animate and impress the huge, cheering crowd. A third singer, the late Papa Wemba, opens the fara fara with a ballad.

Fara Fara shows the immense power and beauty of Congolese music. It offers insightful observations on the context, history, and political impact of this specific subculture, while at the same time being acutely aware of the latent imperfections of cultural translation.

Carsten Höller & Måns Månsson – Fara Fara, 2014. Video stills CARSTEN HÖLLER (b. 1961, Brussels, Belgium) lives and works in Stockholm, Sweden and Biriwa, Ghana. He uses his training as a scientist in his work as an artist, concentrating particularly on the nature of human relationships. His works have been shown internationally over the last two decades, including solo exhibitions: Doubt, Pirelli Hangar Bicocca, Milan, IT (2016); ThyssenBornemisza Art Contemporary (TBA21), Vienna, AT (2014); Hamburger Bahnhof, Museum für Gegenwart, Berlin, DE (2011); New Museum, New York, NY, USA (2011); Museum Boijmans Van Beuningen, Rotterdam, NL (2010); Kunsthaus Bregenz, AT (2008), The ICA Boston (2003). Amongst his many celebrated large-scale projects includes the famous “The Double Club” (2008-2009), which took the form of a bar, restaurant and nightclub in London designed to create a dialogue between Congolese and Western culture.

MÅNS MÅNSSON (b. 1982, Stockholm, Sweden) is a Swedish director and cinematographer educated at the Royal University College of Fine Arts in Stockholm. Since 2001 he has produced several award winning short films and documentaries. His films have been screened at festivals around the world, including the Berlin International Film Festival, Edinburgh International Film Festival, Sarajevo Film Festival and the São Paulo International Film Festival.

Fara Fara, 2014 2-channel, 35 mm film and archival VHS material transferred to digital

Color, sound, 13:27 min.

Carsten Höller & Måns Månsson – Fara Fara, 2014. Installation view. Photo: Hendrik Zeitler

MUSEEA SOFIA HEDMAN & SERGE MARTYNOV The architectural installation for WE ARE THE REMIX is conceived by the Barcelona-based duo Serge Martynov and Sofia Hedman. Acting as artists/designers and curators, Hedman and Martynov have worked together since 2009. In 2015, they founded MUSEEA, an experimental and interdisciplinary platform that brings together a network of contributors focusing on diversity, innovation and sustainability.

With the challenge to create a social meeting place where visitors would be drawn to spend time, MUSEEA has transformed the central 'Cathedral' space into an immersive architectural environment, bursting with color, and layered structures. The installation resembles a cityscape with buildings, squares, balconies and viewpoints. An amphitheater motif made of recycled pallets functions as the central core of the space. From here a selection of the films can be viewed on a large screen. The amphitheatre also functions as the main stage for different programs during the exhibition.

Translucent sheets in green, blue, yellow and pink are suspended from the ceiling arranging the space in various colored zones.

Similar colored filters are mounted on the large windows, imitating the effect of stained glass windows. Their different hues intermingle as the natural light moves around in the space. The installation appears as a symbiotic environment where borders between light and colour become fluid, and new compositions form.

Inspired by the German conceptual artist Kurt Schwitters and his iconic Gesamtkunstwerk-project “Merzbau”, MUSEEA’s work functions both as a living sculpture and a built environment: a multi-functional and relational space.

WE ARE THE REMIX. Photo: Hendrik Zeitler

MUSEEA is founded in 2015 by Sofia Hedman (b.1978 and Serge Martynov (b. 1984). Prior to founding MUSEEA Hedman and Martynov have curated and designed numerous exhibitions in museums and galleries in London, New York, Miami, Saint Louis, Tokyo and Stockholm including Somerset House, London, Christies, New York and Art Basel, Miami. They were closely involved with Judith Clark’s Simone Handbag Museum in Seoul (London, Seoul 2012), Chloe Attitudes (Palais de Tokyo, Paris 2012), Selfridges and Victoria & Albert Museum in London, Museum Boijmans Van Beuningen in Rotterdam, MoMu in Antwerp and The Metropolitan Museum of Art in New York. The duo have received a number of accolades and scholarships including Exhibition of the Year 2015 for “Utopian Bodies – Fashion Looks Forward” at Liljevalchs, Stockholm and best project prize for: ”A New Space Around the Body” awarded by the British Council and British Fashion Council. In 2016, Serge & Sofia joined Museum of Modern Art’s (MoMA) advisory board for the upcoming exhibition “ITEMS – Is Fashion Modern?”

WE ARE THE REMIX. Photo: Hendrik Zeitler

PROGRAMS, TOURS & WORKSHOPS

Workshop. Photo: Hendrik Zeitler

SUMMER WORKSHOP Saturdays noon-3.30pm (17.6-19.8 2017) Thursdays noon-3.30pm (6.7-17.8 2017) Drop in! Free!

For kids from 3 years old accompanied by an adult Do you like to create, build, experiment and explore with colours and shapes? Then the summer workshop is perfect for you!

This summer we will have a diverse and impressive spread of material to choose from in our workshop! It’s open for kids as young as three years old to be creative together with an adult.

You can make something together or work on your own projects side by side. In these workshops children and adults can let their imagination run wild while trying a new and exciting techniques from our “idea-bank”.

GUIDED TOURS (in Swedish) Thursdays 4-5pm (17.6-19.8 2017) Saturdays 4-5pm (6.7-17.8 2017) Drop in! The tour is included in the entry fee.

Every Thursday and Saturday during the summer you can take a guided tour of the exhibition where you will be introduced to the exhibited artworks. We meet in the Lounge, located next to the reception and one of our art educators will guide you through the exhibition.

YOUNG & CREATIVE (UNG & SKAPANDE) Tuesdays & Wednesdays 2-7pm Saturdays & Sundays 1-6pm For those 12-26 years old. Free!

Young & Creative is open for those between 12-26 years that like art, to create and want to meet like-minded individuals! Work with your own projects and try out different techniques, materials and ideas. Young & Creative often works outside by the open graffiti wall "Draken" (the Dragon), located outside of Röda Sten Konsthall.

TAKE THE SPACE! - A Summer Platform During the summer, youth between 12-26 years old will take over the stage in the exhibition as well as the space outside of Röda Sten Konsthall to host their own workshops, music performances, poetry readings and much more! The program for the summer platform will be updated continuously on our webpage and the Ung & Skapande Facebook page – so keep an eye out there for this summer’s programs!

Are you between 12 and 26 years and interested in organizing your own event? Contact Elias Fryk at ef@rodastenkonsthall.se

OPENING HOURS The exhibition is open from 10 June - 20 August 2017 Tuesday, Thursday & Friday noon-5pm Wednesday noon-8pm Saturday & Sunday noon-6pm

ACCESIBILITY All premises can be reached by the elevator, which is 89 cm wide and 180 cm deep. A large toilet suitable for wheelchairs is available in the restaurant. For more detailed information on the accesibility in the building, please visit www.rodastenkonsthall.se

CONTACT US Website www.rodastenkonsthall.se Mail info@rodastenkonsthall.se Address Röda Sten Konsthall, Röda Sten 1, 414 51 Göteborg Telephone +46 (0)31-120816 Restaurant +46 (0)31-120012 / restaurang@rodastenkonsthall.se Facebook facebook.com/rodasten Instagram @rodastenkonsthall Twitter @rodasten

WE ARE THE REMIX Röda Sten Konsthall 10.6 - 20.8 2017 Curator: Aukje Lepoutre Ravn Text & Translation: Aukje Lepoutre Ravn The exhibition is kindly supported by

Michelle Boynton& Emelie Storm Publisher: Mia Christersdotter Norman Graphic design: Linnea Thorén & Sofia Djerf