Rehearsing Hospitalities

Rehearsing Hospitalities is Frame Contemporary Art Finland’s public programme for 2019-2023.

It connects artists, curators and other practitioners in the field of contemporary art and beyond to build up and mediate new practices, understandings and engagements with diverse hospitalities.

Gathering for Rehearsing Hospitalities September 2019

Gathering for Rehearsing Hospitalities
9–14 September 2019, Helsinki

“Hospitality can be seen as a core aspect of an art organisation such as Frame, whose aim is to create and foster international networks and connections.Often hospitality can be seen simply as a way of inviting and hosting guests, but in addition to its domestic connotations, it also has the possibility to be considered more complexly. Our invitation to our partners, contributors, participants and friends, is to practice widening the potentially of hospitalities with us.”
Frame’s Head of Programme Jussi Koitela and Associate Programme Curator Yvonne Billimore.

Gathering for Rehearsing Hospitalities was a six-day gathering 9–14 September in Helsinki, Finland. The event brought together local and international arts audiences for a week of interactions and dialogues.

The programme started on Monday 9 September with film screening at Bio Rex movie theatre, curated by Rachael Rakes, curator, critic, and teacher from New York City.

From Tuesday to Friday a morning discussion series Rehearsing Dialogues engaged participants in dialogues at Museum of Impossible Forms in Kontula. In these sessions a diverse range of practitioners shared, performed, and rehearsed how their practices respond to various epistemologies and ways of knowing.

Commuter salon Salon & Speakeasy by Sumugan Sivanesan and Irina Mutt happened daily during the commute between different venues. Alongside an open mind and listening ear, Salon & Speakeasy offered hand massages and palm readings.

On Saturday 14 September a participatory installation by Bread Omens (Jani Anders Purhonen and Elina Rantasuo) produced by artist-led collective Asematila, explored bread-making as a method for building and sustaining communities.

As one of Frame’s key collaborators, Museum of Impossible Forms presented A series of soft gestures towards Hospitality. These gestures are the result of collaborations with a number of partners and artists in the programme including curatorial duo nynnyt, artist-led collective Asematila, Bread Omens, artist Heidi Hänninen, bread makers from Tikke Restaurant, as well as other invited guests and participants from Kontula in Helsinki.

Gathering for Rehearsing Hospitalities was moderated by Jussi Koitela (Head of Programme Frame Contemporary Art Finland) and Yvonne Billimore (Associate Programme Curator Frame Contemporary Art Finland).

Download schedule

Download daily programme

Publication

Rehearsing Hospitalities Companion #1 is comprised of contributions from artists, curators, thinkers and collaborating partners, participating in the 2019 Gathering for Rehearsing Hospitalities. With essays, drawings, reading lists, invitations, exercises, dialogues by Clelia Coussonnet, Rick Dolphijn, Pia Lindman, Rachael Rakes, Vidha Saumya, Sumugan Sivanesan and Irina Mutt, artist-led collective Asematila, culture centre Museum of Impossible Forms and Frame’s programming team Yvonne Billimore and Jussi Koitela.

Rehearsing Hospitalities Companion #1  was published in September 2019 by Archive Books and Frame Contemporary Art Finland, and it’s edited by Yvonne Billimore and Jussi Koitela.

For press copies, please contact Frame’s Head of Communications Laura Boxberg.

Partner Collaborators

Gathering for Rehearsing Hospitalities is developed in collaboration with a number of partners: Amos Rex, Asematila collective, AV-arkki – The Centre for Finnish Media Art, Finnish Cultural Institute New York, Goethe-Institut Finnland, Helsinki International Artist Programme (HIAP), Museum of Impossible Forms and PUBLICS.

Supporters

The main supporter of Rehearsing Hospitalities is the Ministry of Education and Culture of Finland, together with the Finnish Cultural Institute for the Benelux, Finnish Cultural Institute in Denmark, Finnish Cultural Institute in Madrid, Finnish Institute in Estonia, Finnish Institute in London, Finnish Institute in St. Petersburg, Lithuanian Culture Institute, Nordic-Baltic Curatorial Programme and the Saastamoinen Foundation.

Parallel programmes

The programme was scheduled to run in parallel with Today Is Our Tomorrow art festival, taking place during the same week, organised by Helsinki-based curatorial agency PUBLICS in collaboration with local and international partners.

During the week Goethe-Institut Finnland presented a programme in collaboration with Design Museum on Bauhaus, gender, ecology and Nordic design.

Biographies

Camille Auer is an anarchist trans dyke bitch artist, writer and performer. She works with sound, words, digital image and direct action. Her subject matter is the friction and diffraction that takes place in and between micro and macro realities, subject and object formation, matter and meaning, and marginalised individuals in an oppressive society.

Bread Omens (Jani Anders Purhonen and Elina Rantasuo) are an artist collective working around dough. It’s infinite fermenting & kin-making process at best – dough bondage, bread-eating, sinking into a tub of sourdough. They rest while waiting for their turn to bake, learn from others, grow in softness, and expand each other’s beautiful and kind existence. Sensing and smelling freshly baked crusty skin, in and out.

Jennifer Chan is a Canadian media artist, curator, and programmer based in Toronto, Ontario. She is best known for her work that addresses how gender and race manifest in the fields of digital and online art, using amateur aesthetics inspired by pop culture, YouTube mashups, and millennial experience.

Rosa Tolnov Clausen’s creative practice oscillates between the fields of craft and design. Clausen creates physical spaces about the practice of hand weaving, using craft as a catalyst for physical, social and creative interaction, and a pause in the contemporary urban every day.

Clelia Coussonnet is an independent curator, art editor and writer based Aix-en-Provence. Coussonnet is interested in how visual cultures tackle political, social and spiritual issues in different, or complementary, ways than other disciplines. She also likes to create interdisciplinary projects outside of traditional art circuits, particularly in contexts linked to craft or heritage and in spaces previously unused for cultural projects.

Marjolijn Dijkman is an artist and co-founder of Enough Room for Space, based in Brussels. Her works can be seen as a form of science – fiction; partly based on facts and research but often brought into the realm of fiction, abstraction and speculation. Enough Room for Space initiates long-term experimental research projects, challenging the barriers between different disciplines (artistic, scientific or activist). marjolijndijkman.com

Rick Dolphijn is an associate professor based at Humanities, Utrecht University, with an interest in transdisciplinary research at large. He has published widely on new materialism, ecology/ecosophy and art and is interested in the developments in continental philosophy and speculative thought. His academic work has appeared in journals like Angelaki, Rhizomes, Collapse and Deleuze Studies. Most recently he published an edited volume entitled Michel Serres and the Crises of the Contemporary with Bloomsbury Academic.

Marie-Andrée Godin was born in Canada and works between Canada and Finland, where she now lives. Her work focuses on the figure of the witch as a feminist figure and explores the concepts of a-hierarchy, craft, holistic and anti-anthropocentric thinking and reclaiming skills and knowledge as a source of power. She is now trying to see how magic, post-capitalism and diverse political forms or systems can be intertwined to manifest a future. She conducts this research under the title WWW³ (WORLD WIDE WEB / WILD WO.MEN WITCHES / WORLD WITHOUT WORK).

Heidi Hänninen is a community artist with a background in art education and sculpture. She has studied monumental painting in St. Petersburg, and has been making wall-paintings in Finland and abroad. She uses street art as a method of communication for community art. Heidi is currently working on a multilingual research project ”Itä-Helsingin uudet Suomen kielet” – developing new art methods for how to deal in the school classes of children from various cultures by valuing different languages.

Eeva-Kristiina Harlin is a doctoral researcher at the University of Oulu, Giellagas Institute (institute for Saami Cultural Studies) in Finland. Her PhD deals with tangible Sámi heritage and repatriation politics. She has worked in Sámi museums in Finland and in Norway and she is specialized in Nordic and European Sámi collections and repatriation. Currently she works with Sámi artist Outi Pieski in a project called “Máttáráhkku ládjogahpir – Foremothers horn hat.

inaway:Nayab Ikram and Ramina Habibollah are a Finnish-Asian curatorial duo. In their curatorial practice, they aim to create a dialogue between the Finnish and the Nordic art sphere by working with artists of colour. Working through the method of the intersectional feminist perspective, they are challenging the norms of the cultural politics in Finland to be more inclusive and representative.

Tereza Jindrová is a curator and art writer. In general, she is interested in methods of creating curatorial ‘frames’ to layer different interactions between artists, artworks and the public. Recently she has focused on the topic of human-animal relations, environmentalism, rational and irrational aspects of healing, irrational beliefs and magic, and gender stereotypes in the context of artistic creativity.

Toril Johannessen is an artist living in Tromsø. Combining historical records with fiction and her own investigations, and with an attention to how science coexists with other systems of knowledge and belief, her works often have elements of storytelling in visual or written form.

Hanna Laura Kaljo is concerned with the cūra within the curatorial, pointing to practices of attention and healing. She received her MFA in Curating from Goldsmiths College, London, and has been supporting artists through dialogue since 2012. In addition, she has trained in group processes including 5 Rhythms, The Way of Council, and Work That Reconnects – practices concerned with body-soul-earth relations.

Mari Keski-Korsu is a transdisciplinary artist who explores how ecological changes manifest in everyday life. The work is based on collaborations with different kinds of communities and species and usually are in the realm of hybrid combinations of performance, visual arts and live art. Her current practice is focused on interspecies communication to possibly enable empathy towards whole ecosystems.

Nadiye Koçak is a multidisciplinary contemporary artist currently studying in Saimaa University of Applied Arts (BFA). They grew up in Kerava in a Turkish-Finnish family, and spent their summers in rural South-Eastern Turkey eating plums, climbing mulberry trees and playing video games. Their work explores the body through various materials and has been presented in Taidehalli, Helsinki as a part of the Young Artists 2019 Exhibition, where they were awarded the Maecenas Kilta Young Artist stipend.

Pia Lindman is doctoral candidate at the program of Nordic Cultures and Environmental Politics at Lapland University researching her concept of the subsensorial. A result of many years of investigation into the body and its place within the cultural space, Lindman’s work responds to a contemporary desire to mend the fission between science and art, healing and creativity – and moves beyond the human body proper to multiple realms of life.

Marie Lukáčová graduated from the Academy of Arts, Architecture and Design in Prague. She is one of the founders of the Fourth Wave feminist group which initiated public debate on sexism at universities in 2017. Her films transform symbols borrowed from the fields of politics, mythology, geology and science. They move across various time levels and locations, addressing the questions of uncertain future through specific narratives and poetics.

André Filipek Magaña is an artist living and working in Brooklyn, NY. makes sculpture that engages Mexican life and identity by re-interpreting icons from pre-colonial history, regional culture, pop media, and everyday consumer culture.

Anna Matveinen hails from deep rural Finland as the last child of Mutalahti village. The border with Russia has severed the village in half. The atmosphere of the village is dominated by the closeness and reminder of a bloodied history. These are the elements that comprise the concepts and themes while formulating and creating each piece of art. Finished products are achieved with a performative approach to working.

Militza Monteverde is living and working in Stockholm. Educated at the Royal institute of art (MFA 2017). Monteverde works sculpturally to embrace the uncanny. In her work she uses the xenophobic gaze’s projections, such as fragility and fear, to trace the similarities between alienation and dehumanization. Central are preparations of a new body and an alternative nature, that always borders to the unheimlich.

Irina Mutt is a writer and curator from Barcelona currently based in Helsinki. Some of her curating projects, navigated the possibilities of mixing politics and pleasure through queer feminism, friendship, embodied writing and publishing: ‘Undoing text’ (Inéditos 2016, Casa Encendida Madrid) ‘MICRO’ (Nau Estruch 2015) or narratives around vulnerability as a position to share rather than overcoming: ‘A break can be what we are aiming for’ (BCN-Producció 2018). Since 2017 she’s part of the public program commission at Hangar BCN.

Myriagon is the experimental outlet for the collaboration between artist Tuomas Aleksander Laitinenand curator Jenni Nurmenniemithat manifests as performative events, publications, and recordings. By fusing aural, written, and visual signs and systems, they investigate how language shapes worlds and explore its diverse materialities. Instead of being a human-centric initiative, Myriagon is made by fleeting multi-species communities.

nynnytare Orlan Ohtonen& Selina Väliheikki, a Helsinki-based queer feminist curatorial duo that have, since 2014, been working towards and through a curatorial practice that takes flight from the concept of friendship and echoes intersectional queer feminist politics. nynnyt are co-founders of Poimu studio in Helsinki that hosts the work of 40 feminist art workers as well as an expanding library of art & feminism.

Sepideh Rahaa is a multidisciplinary artist and researcher based in Helsinki and born in Iran. In her practice, she is focused on everyday life, womanhood, resistance, migration and representation. Sepideh’s and Razan’s friendship and professional collaboration started and expanded further by knowing each other’s views while working together in the art project ‘A Dream That Came True?’.

Rachael Rakesis a curator, critic, and teacher from New York City. Rakes is currently the Head Curator and Manager of the Curatorial Programme at De Appel in Amsterdam, the Editor at Large for Verso Books, and Programmer at Large for the Film Society of Lincoln Center—where she co-curates the annual festival Art of the Real. Rakes has taught on social practice, aesthetics and documentary art at The New School and Harvard Summer School, and currently serves as Supervisor for the Sandberg Institute Critical Studies programme.

Vidha Saumya is a drawer, poet, cook and bookmaker. She seeks visual interest in congregating bodies, popular cultures and notions of deformity. She has read her poems in festivals and seminars such as Runoviiko Poetry Festival and Stop Hatred Now amongst others. She is a founding member of the Museum of Impossible Forms, Helsinki and is currently working on the project, ‘Monumentless Moments: Utopia of Figureless Plinths’ supported by the Kone Foundation, Finland.

Eileen Isagon Skyers is a curator, writer, and artist based in New York City. Skyers engages with identity and new media, positioning each against a contemporary society that has grown increasingly alienated as it grows accustomed to artificial intelligences and processes. She is a founding member of HOUSING, a migratory gallery concept that is guided by a desire to stimulate public discourse through the work of artists and creative practitioners whose works show critical commentary and intent.

Sumugan Sivanesan is an is an anti-disciplinary researcher, writer and artist currently based in Berlin. Often working collaboratively his interests span migrant histories and minority politics, activist media, artist infrastructures and more-than-human rights. Recently he has produced projects for the The Floating University, Berlin (2019), Insituto Procomun LABxSantos, Brazil (2018) and Nida Art Colony (2018).

Martta Tuomaala is a multidisciplinary artist based in Helsinki. Tuomaala focuses on various forms of film, video and installation. Her artistic practice involves elements of socially engaged art and militant research. Common themes in her artworks are workers’ everyday life, struggles of individuals and communities, and abuse of power. Tuomaala has worked in different low-income fields for many years, and her own experiences have inspired her to create projects emphasizing workers’ rights issues.

Contributors

Camille Auer
Bread Omens (Jani Anders Purhonen and Elina Rantasuo)
Rosa Tolnov Clausen
Colectivo los Ingravidos
Clelia Coussonnet
Marjolijn Dijkman
Nazli Dincel
Rick Dolphijn
Marie-Andrée Godin
Jacqueline Goss
Eeva-Kristiina Harlin
inaway (Ramina Habibollah and Nayab Ikram)
Tereza Jindrová
Toril Johannessen
Hanna Laura Kaljo
Mari Keski-Korsu
Nadiye Koçak
Pia Lindman
Marie Lukáčová
André Filipek Magaña
Anna Matveinen
Militza Monteverde
Irina Mutt
Myriagon (Tuomas Aleksander Laitinen and Jenni Nurmenniemi)
nynnyt (Orlan Ohtonen and Selina Väliheikki)
Sini Pelkki
Laure Prouvost
Sepideh Rahaa
Rachael Rakes
Azar Saiyar
Vidha Saumya
Eileen Isagon Skyers
Sumugan Sivanesan
Martta Tuomaala

Epistemic Hospitality March 2019

Epistemic Hospitality

13 March 2019
9.30 am–6 pm
Bioart Society’s SOLU Space, Luotsikatu 13, Helsinki

 

“In trying to become “objective”, Western culture made “objects” of things and people when it distanced itself from them, thereby losing “touch” with them. This dichotomy is the root of all violence.” Gloria Anzaldúa, Borderlands/La Frontera (1987).

Epistemic Hospitality was a day-long discursive event held on the 13th of March in Helsinki, marking the first event in Frame’s programme Rehearsing Hospitalities. Employing this quote from scholar of Chicana cultural, feminist and queer theory, Gloria Anzaldúa’s book Borderlands/La Frontera as a point of departure, Epistemic Hospitality brought together practitioners to ponder how artistic, curatorial and institutional practices can foster and host versatile knowledges and ways of knowing. The event was organized by Frame Finland in collaboration with Bioart Society, Instituto Iberoamericano de Finlandia, Embassy of the Federal Republic Germany Helsinki and Goethe-Institut Finnland.

One of the event’s key concerns was questioning what or who plays a decisive role in determining which forms of knowledge are considered valid. It asked: how can feminist curatorial practice, new artistic paradigms and decolonization of Western art histories elevate diverse knowledges and ways of knowing? How can these practices bricolage, engage and work with knowledges situated within a wide range of human-non-human transcultures?

Inhabiting subsensorial XYZ,  the exhibition of Bioart Society artist in residence Pia Lindman, Epistemic Hospitality is first situated directly within Pia’s artwork: a mapping of SOLU’s environmental sensibilities and complexities and the effect they have on her as a multisensory system and organ.

The discussions and exchanges are built around a series of talks and dialogues, as well as the working process of Pia Lindman, Bioart Society’s current exhibiting artist and artist in residence. Participants of the event are artist Razan Abou Askar, philosopher Rick Dolphijn, curator Giovanna Esposito Yussif, researcher Eeva-Kristiina Harlin, curator and researcher Maria Iñigo Clavo, artist Kristiina Koskentola, artist Pia Lindman, artist Anni Puolakka, art historian and curator Regine Rapp, artist and researcher Sepideh Rahaa,  curator Elina Suoyrjö, curator Jennifer Teets, curator and director Jochen Volz.

Each dialogue challenges traditional Western European epistemologies through artistic, curatorial and research practice. They envision hospitable epistemologies and ways knowing beyond the toxicities of contemporary binaries such as north and south, human and non-human, and universal science and subaltern knowledges.

Epistemic Hospitality takes place within Bioart Society’s SOLU Space between 9.30 am and 6.00 pm.

 

Programme on 13 March

Part one: Situated Discourses

09:30 Introduction and welcome: Jussi Koitela, Pia Lindman and Mari Keski-Korsu (The Bioart Society)

10:00 Talk 1: Maria Iñigo Clavo

10:40 Talk 2: Elina Suoyrjö

11:20 Talk 3: Regine Rapp

Lunch 12.00

Part two: Bricollasing Dialogues

12:45 Dialogue 1: Pia Lindman & Jochen Volz

13:30 Dialogue 2: Kristiina Koskentola & Rick Dolphijn

14:25 coffee break

14:40 Dialogue 3: Sepideh Rahaa & Razan Abou Askar

15:25 Dialogue 4: Eeva-Kristiina Harlin & Giovanna Esposito Yussif

16:10 coffee break

16:25 Dialogue 6: Anni Puolakka & Jennifer Teets

17:20 Open Discussion

18:00 Event ends

The event is moderated by Jussi Koitela (Head of Programme Frame Contemporary Art Finland) and Yvonne Billimore (Associate Programme Curator Frame Contemporary Art Finland).

 

Part one: Situated Discourses invites participants Maria Iñigo Clavo, Elina Suoyrjö and Regine Rapp to further ground us. Their research and practices become a frame for hosting a series of discursive exchanges between artists, curators and thinkers in part two where topics can re-emerge and evolve.

Maria Iñigo Clavo’s research focuses on coloniality, curating and museology, modernity, and its inventions of otherness, unstranslability, and art in Latin America with special attention to Brazilian Art. In her talk Methodological agency of the popular: towards a non-hegemonic art history, she asks: What would be like a writing of art history without its big names? Could our object of study change our methodologies?

Curator Elina Suoyrjö looks at possibilities of knowledge production arising from happenings of affect in encounters with art. Approaching curatorial work with contemporary art as a feminist practice of summoning energies and warm-hearted feelings, and seeing encounters with art as potentially transformative events, her talk focuses on other forms of knowing and knowledge, leaning towards those of emotion and intuition.

Regine Rapp an art historian, curator and co-director of Art Laboratory Berlin, speaks from the position of a researcher and curator working within the life sciences. Through various projects she reflects on new forms of artistic research and knowledge emerging from Art & Science collaborations.

 

Part two: Bricollasing Dialogues is composed of a series of conversations between artists, curators and researchers exchanging a range of thinking, approaches and methodologies relating to knowledge and ways of knowing.

Artist Pia Lindman and curator Jochen Volz discuss the work that Pia made for São Paulo Biennale 2016 and her current exhibition subsensorial XYZ in SOLU: looking into how her work, which uses her heightened sensitivity as a medium, produces, engages with and depends on certain forms of knowledge.

Artist Kristiina Koskentola explores modes of knowledge production, polyvocal subjectivity and agency of multiple co-actors (human and not) often through “peripheral” or forgotten ecologies. During the event she will screen her film Our Bodies Have Turned to Gold (2018) and alongside philosopher Rick Dolphijn discuss transcultural and post-human perspectives on knowledge.

Artist Sepideh Rahaa’s practice questions social norms and conventions while focusing on everyday life, womanhood, resistance, migration and representation. Exchange forms the basis of Sepideh friendship and professional collaboration with artist Razan Abou Askar. Their in-conversation focuses on using experience based knowledge as a method for shared practice.

Curator Giovanna Esposito Yussif and researcher Eeva-Kristiina Harlin will discuss the concept of rematriation and how this sensible epistemological restoration can inform the practices of exhibiting, archiving, and researching heritage and cultural belongings. They will focus on the artistic research project Máttaráhku ládjogahpir – Foremothers Horn Hat which Harlin has been developing in collaboration with Finnish-Sámi artist Outi Pieski.

Artist Anni Puolakka and curator/writer Jennifer Teets respectively discuss their work and research on lactation, nipples, and fluids as a way to engage contemporary epistemological structures – their conversation will largely ask  questions around scalar thinking as a way to approach the “backstory” of matter, combined with issues of rights, health, and ecology.

 

Biographies

Razan Abou Askar is a Palestinian-Finnish artist living in Helsinki. Her BA studies of English Language and Literature reinforced her artistic interests, especially in writing and performance art. Her writings depict traditionally taboo subjects, as well as the tension between one’s native culture and adopted homeland and the difficulty of finding one’s place in a transnational and intercultural setting. Currently she pursues her Master’s degree in Intercultural Encounters in the University of Helsinki and is completing a traineeship at Culture for All Service.

Rick Dolphijn is an associate professor based at Humanities, with an interest in transdisciplinary research at large. He has published widely on new materialism, ecology/ecosophy and art and is interested in the developments in continental philosophy and speculative thought. His academic work has appeared in journals like Angelaki, Rhizomes, Collapse and Deleuze Studies. Most recently he published an edited volume entitled Michel Serres and the Crises of the Contemporary with Bloomsbury Academic.

Giovanna Esposito Yussif is a curator and researcher with background in art history, museology, and critical theory. Since the past few years, Giovanna has focus her praxis on collective models of inquiry, exercises of criticality, and processes of dissentient imaginations. Through her work, she is devising research on non-dominant practices. She is currently co-curating the Pavilion of Finland at the 58th Venice Biennale with the Miracle Workers Collective.

Eeva-Kristiina Harlin is a doctoral researcher at the University of Oulu, Giellagas Institute (institute for Saami Cultural Studies) in Finland. Her PhD deals with tangible Sámi heritage and repatriation politics. She has worked in Sámi museums in Finland and in Norway and she is specialized in Nordic and European Sámi collections and repatriation. Currently she works with Sámi artist Outi Pieski in a project called “Máttáráhkku ládjogahpir – Foremothers horn hat.

María Iñigo Clavo is a researcher, curator and lecturer at Open University of Catalonia and associate lecturer at Central Saint Martins School of Arts (University of the Arts London), with a PhD in Fine Arts. Her research focuses on coloniality, curating and museology, modernity, and its inventions of otherness, unstranslability, and art in Latin America with special attention to Brazilian Art.

Kristiina Koskentola is visual artist. She earned her PhD from the University of the Arts/ Chelsea College in London. Her work spans across media including video, photography, materials, stories, objects, interactive performative projects, publications and lectures. With her recent projects she explores modes of knowledge production, polyvocal subjectivity and agency of multiple co-actors (human and not) often through “peripheral” or forgotten ecologies. Transcultural and monistic perspectives, materiality and coexistence are central to her ethically and socio- politically driven practice.

Since 2017, Pia Lindman is doctoral candidate at the program of Nordic Cultures and Environmental Politics at Lapland University researching her concept of the subsensorial. A result of many years of investigation into the body and its place within the cultural space, Lindman’s work responds to a contemporary desire to mend the fission between science and art, healing and creativity – and moves beyond the human body proper to multiple realms of life.

Anni Puolakka is based in Helsinki and Rotterdam and makes performances, videos, installations drawings and texts in which situation-specific or documentary materials are incorporated into fictional worlds. The works play with the boundaries and potential of human animals as they seek meaningful and vibrant – sometimes drowsy or dirty – involvement with other beings, objects and surroundings. Puolakka has an MFA from the Piet Zwart Institute, The Netherlands. She teaches at Aalto University and Theatre Academy, Helsinki and co-organizes sex-positive, feminist festival Wonderlust.

Sepideh Rahaa is a multidisciplinary artist and researcher based in Helsinki and born in Iran. In her practice, she is focused on everyday life, womanhood, resistance, migration and representation. Sepideh’s and Razan’s friendship and professional collaboration started and expanded further by knowing each other’s views while working together in the art project ‘A Dream That Came True?’.

Regine Rapp is an art historian, curator and co-director of Art Laboratory Berlin (ALB). Her research focuses on art in the 20th and 21st century: Installation Art, Text and Image Theory, the Artist Book, and Art & Science Collaborations. As a research associate at Burg Giebichenstein Kunsthochschule Halle she taught art history. As a research associate at the Institute of Biotechnology of the TU Berlin, she is currently connecting Art & Science research in the project Mind the Fungi.

Elina Suoyrjö is an independent curator and the director of Titanik art space in Turku, Finland. Her curatorial practice builds upon working collaboratively and often site/situation-specifically with artists. She holds an MA in curating from Stockholm University, MAs in both history of art and gender studies from the University of Helsinki, and a PhD in the field of feminist thought and curating from Middlesex University, London.

Jennifer Teets is a curator, writer, researcher and performer born in Houston, Texas, living and working from Paris. Her research and writing combines inquiry, sciences studies, philosophy, and ficto-critique, and performs as an interrogative springboard for her curatorial practice. She is co-curator (w/Margarida Mendes) of The World in Which We Occur, a curatorial research-based entity that explores themes concerned with artistic inquiry, philosophy of science, and ecology.

Jochen Volz is the General Director of the Pinacoteca de São Paulo. In 2017, he was the curator of the Brazilian Pavilion for the 57th Biennale di Venezia, presenting Cinthia Marcelle – Hunting Ground. Volz was the curator of Incerteza Viva (Live Uncertainty), the 32nd Bienal de São Paulo in 2016. Prior he has served as Head of Programmes at the Serpentine Galleries in London between 2012 and 2015.

Images:
Pia Lindman: Nose Eyes Ears, 2016. Photo: Fundação Bienal de São Paulo.
Outi Pieski: Homecoming – Ruoktut máhccan, 2019.
Sepideh Rahaa and Razan Abou Askar: A Dream That Came True?, 2016.
Kristiina Koskentola: Our bodies have turned to Gold, 2018.
Anni Puolakka: Suckling Animal Sibling at Kim? / Hydrogen Night, 2018. Performed with Marta Trektere. Photo: Andrej Strokins.

About Rehearsing Hospitalities

Rehearsing Hospitalities is a guiding principle for Frame to navigate within contemporary urgencies and to claim co-agency in the midst of a changing political, social and cultural environment. Rehearsing Hospitalities acknowledges hospitality as an open-ended skill that needs to be constantly rehearsed.

Rehearsing Hospitalities fosters critical discourse, pluralistic sharing and collaboration between diverse (artistic) practitioners in contemporary societies. It takes the form of yearly autumn gatherings, public dialogues, a series of publications and peer-to-peer learning situations. This far-reaching collaborative process fosters the emergence of new practices and paradigms of political and cultural hospitality.

 

Hosting and being hosted

Rehearsing Hospitalities Frame FinlandHosting and being hosted are powerful tools within the contemporary worldly entanglements of ecocides, epistemic genocides and global poverty and migration driven by increasing income gaps. The programme acknowledges that being hospitable towards a guest is always bound up with power structures that permit someone to be a host and others to be guests.

Hospitality, as it is often understood, is an enlightened promise of emancipatory openness towards the “other”, but for the very same reason it often manifests itself as a force that tends to keep the subject and object – the included and the excluded – in their usual, rigid normalized order.

 

New relations beyond binaries

Rehearsing Hospitalities Frame FinlandThe aim of the Rehearsing Hospitalities is to support (artistic) communities to foster new host-guest and subject-object relations that go beyond binaries rooted in Western social and economic knowledge-power structures.

We ask if there are hospitalities that exist beyond certain geographical, ontological and epistemological divisions such as binaries of north and south, central and peripheral, human and non-human, Finnish and non-Finnish, universal science and subaltern knowledges and many other, often essentialized differences that reproduce the toxicity of contemporary societies?

Rehearsing Hospitalities regards hosting and guesting as a process that allows the emergence of new productive differences and connections. Its fundamental aim is to produce connections and differences differently in order to allow new artistic, cultural and political alliances and positions to come into being.

 

Rehearsing Hospitalities in 2019

Rehearsing Hospitalities Frame FinlandHosting and visiting can be viewed as core practices for Frame Contemporary Art Finland, whose mandate is to foster and support international connections and networking with and within the contemporary art field in Finland.

Over the coming years, hospitality will be Frame’s key practice for asking what kind of urgent international and worldly exchanges are crucial and meaningful and how they can be produced through diverse hospitalities.

In 2019 the programme will address art and institutional potential to facilitate and mediate diverse epistemic hospitalities. It asks what kind of power structures of knowledge and knowing are contemporary art and artistic institutions dependent upon? Do practitioners in the art field reproduce oppressive Western epistemic paradigms through artistic practices and institutional structures, or is there space for emancipatory ways of knowing? Can diverse and hybrid ways of being situated between social classes, genders, races and cultural traditions open up a new epistemic process within the artistic field?