Request and Response:

conviviality and reflexiveness

IASPIS, 2021
2 Editorial 3

This is not a book.

When I first arrived to work at IASPIS at the end of January 2021, amidst the pandemic Our tentative program, the gatherings formed, the dialogues that we shaped, blemished
that´d hit worldwide, the site was quiet but for the few grant holders in residency. the different practices, and ourselves.

The atmosphere was much like when we return home from a trip: everything is hushed, Leaving space for the expressions and expansions that each gathering gave us, we invited
and somewhat still. The institutional body was working from home, and took turns being the different guests that´d been with us to leave a trace of what had been. Some of the
on site. The grant holders had ownership of the space, and fostered their own rhythms, grant holders themselves have also offered to leave a trace.
mostly beyond the institutional. A trace is not the complete truth, but a sign, a symptom of the existence, or the passing of
something. This transient quality is how we chose to relate to a possible record of Request
Although the usual climate of publicness was completely contracted, an internal, almost & Response.
domestic space had advanced. It was a very singular moment.

Instead of trying to make up for this lack of publicness, I looked instead into the institution
as a space for and of knowledge-production by coming closer to the practices and grant I want to thank IASPIS, for the generous year in this institution; my colleagues, for their
holders on site. I acknowledged the internal aspects of the residency, reflecting over the relentless support; all dear guests that openly came to think with us, and were so giving;
knowledge that existed here. Behin Roozbeh, for the beautiful work designing the folder and putting the traces
together.
Until March 2021, we worked on the online spring Open Studios together. At the end of
that project, an invitation was cast for me to stay on with the residency program for a few I want to thank you, incredible grant holders, whom I have had the privilege to work with.
months.

Pursuing a culture of gathering, from the stance of the grant holders´ practices, I rhymed
the different questions they provoked, as a space for thinking together. 
December 2021
So, Request & Response: conviviality and reflexiveness was born from a need to fluster
things, seizing this energy of collectiveness, amidst that singular atmosphere that´d
formed.

The gatherings happened in the kitchen, on Tuesdays, usually between 11:00 and 12:00,
in an effort to lay a rhythm. They were informal, amongst us, at times with a guest invited
to come think with us. 

The format meant a request was put on the table, and we responded to it, in a convivial
setting, and a reflexive manner. The requests were topics, questions, readings, exercises,
and valuable elements of a process. Request & Response became a liminal space
between internal questions, and a discursive digression with other practices, subjects,
thinkers.

Throughout Request & Response, 14 grant holders were in residency in different periods.
We did not make the gatherings public, in an effort to maintain a level of trust and
r d t
proximity – the convivial. When a guest was with us it was important, even from a Zoom
ur cha
screen on their end, to offer an internal quality of our gathering in the kitchen.
t a B
e r
A tentative program developed. Rob
4 Program Happened also on the 8/6: Sandra Medina and filmmaker/artist Andreas Bagge 
NO TRACE HERE 5
Dance grant holder Sandra Medina and collaborator Andreas Bagge, invited us to come down
Request and Response: to the Dance studio for an interview about what home is /can be, what feelings of belonging and
exclusion it brings us. The interviews will be used in a pilot film where they explore how to build

conviviality and reflexiveness the film Hemsjuka (Homesickness). A docufictional work; a fiction close to reality, where Sandra
is a researcher recruiting patients for the study of Homesickness.

VII: 15/6 Open sharing moment with fika or lunch

IASPIS spring, fall 2021 NO TRACE HERE
We sat together for fika and talked openly.
May
VIII: 22/6, 14:30: Workshop Sandra
I: 4/5, 11:00-12:00: Heritage, Identity and Commodification NO TRACE HERE
NO TRACE HERE Dance grant holder Sandra Medina and collaborator Ellen Söderhult, shared a work-in-progress
Conversation on heritage, identity and commodification. Reading of fragments of texts, such presentation, documented as memory, followed by a discussion. The work explored sounds´
as Michael Landzelius´ “Commemorative Dis(re)membering: Erasing Heritage, Spatializing musical choreography, creating a new space.
Disinheritance”.
IX: 29/6, 13:00-14:00: Archival work, The Garden of (not) Forgetting, in Tutun
II: 11/5, 11:00-12:00: Archive Deposu, Istanbul
NO TRACE HERE TRACE FOUND ON PAGE 35
Conversation on archive, with the reading of fragments of texts, such as Achille Mbembe´s “The Guests Dilşad Aladağ and Eda Aslan, by invitation of grant holder Gözde Ilkin, shared their
Power of the Archive and its Limits”. project and practice “The Garden of (not) Forgetting”, thinking with us about personal archive,
cultural heritage, social memory, migratory movements, sociopolitical investigation, practices of
III: 18/5, 11:00-12:00: Gözde Ilkin, expanding on own practice remembering, archives, urban heritage and unofficial heritage narratives.
NO TRACE HERE
From lockdown in Istanbul, online grant holder Gözde, told stories about the process of her last July
works, and connected to our talk about the Archive. Summer break

IV: 25/5, 11:00-12:00: Resilient Stitch August and September

TRACE FOUND ON PAGE 23 Focus on autumn Open Studios
Guest Claire Wellesley-Smith, was invited to share thoughts on her latest book “Resilient Stitch”, openstudiosautumn2021.iaspis.se/
and think with us about reclaimed cloth, slow processes, methods of production and narratives
of use, archival research and community stories. We were interested in how Claire sees and uses September
cloth, dye and stitch as carriers of the natural and social history of place. 
X: 7/9, 13:00-14:00: Personal reference index, the rhetoric of the image,
June the obtuse, psychology, collective consciousness, mythology and fantasy 
TRACE FOUND ON PAGE 43
V: 1/6, 11:00-12:00: Migration and meanings of regeneration through a series of Guest Marcia Sá Cavalcante Schuback shared thoughts on the obtuse, the idea of a personal
journeys in search of salt practices reference index as things we carry around with us aesthetically, psychology, collective
TRACE FOUND ON PAGE 27 consciousness, mythology, fantasy, and what Mark Frygell brought us as one of the theoretical
Guest Katy Beinart, was invited to share thoughts on her research-practice “Detour and Retour: references that marked him, Roland Barthes, “The Rhetoric of the Image”, and the three classes
Practices and poetics of salt as narratives of relation and re-generation in Brixton”, and think with of messages within the image.
us about migration, ocean as connectivity, performance, ritual, participatory research, memory,
heritage and pasts. XI: 14/9, Fiction and the character
TRACE FOUND ON PAGE 51
VI: 8/6, 11:00-12:00: Affective past, Hauntology, Immersivity Guest Javier Montes, shared with us a listening piece/pod, telling us of the research over, and
TRACE FOUND ON PAGE 29 writing of the mysterious and controversial character in Brazilian history, Luz del Fuego, which
Guest Colin Sterling, was invited to think with us about affective past, hauntology and gave rise to the book with the same name. With focus on the question of history, fiction and
immersivity; and how artists, designers, architects, writers and other creative practitioners the character, we asked how one accesses the past, and the meanings of doing so through the
engage with the past and heritage as spaces of critical enquiry and reimagination. reading and writing of a past character, in contemporaneity.
6
XII: 21/9, 11:00-12:00: Post Workers Theatre
TRACE FOUND ON PAGE 59 Bios from the grant holders 7
Guests Dash MacDonald and Nicholas Mortimer, shared with us the work of Post Workers Theatre,
a design troupe investigating the future of politically engaged performance, reimagining historic
forms of creative resistance for a contemporary context.

XIII: 28/9: 16:00-17:30 Fiction, archive, art 
TRACE FOUND ON PAGE 67
Guest Marisa Brown opened two discursive sessions focusing on the power of fiction and art;
and art in the institution. We listened, talked and thought together over the meanings of fiction,
archive, art, public art, black futurism, architecture, preservation, spatial justice, decolonization,
institutions and critical heritage.

n s e :
R espo
a n d
u e s t
Req
8 Chiara Bugatti Katarina Burin 9
Studio grant holder in Stockholm Studio grant holder in Stockholm
1 July - 15 November 2021 8 November 2020 - 30 June 2021
Born 1991 in Lecco, Italy. Born in Bratislava, Slovakia. Grew up in Toronto,
Lives and works in Stockholm Canada. Lives and works in Cambridge, USA
Chiara Bugatti is a visual artist. In her mainly sculptural practice, she studies objects and For the past ten years I have been based in Cambridge, Massachusetts teaching as a Visiting
tools when they become devoid of their primary function, analysing their physical properties Lecturer and then Lecturer in the Department of Art, Film, and Visual Studies at Harvard
and historical associations, their possibilities of form and impact on their surroundings. University as well as being a recurring guest lecturer at MIT’s graduate art program in Art
Desires, ambitions and future visions become concrete within the built environment, as do Culture and Technology. Prior to that, I lived for almost a decade in Berlin, Germany. Throughout
failures, refusals, flaws and obsolescence. When monuments, buildings or infrastructures all this time I have been continuously active as an artist, exhibiting my work in public institutions
lose their original purpose, they return to a state of being simply material, reminding us of the and in galleries, both in Europe and the United States. 
fragile landscape where they once belonged and the politics of power and control underlying
their existence. Bugatti addresses these topics through sculptural interventions, installation In my artistic practice I work with a wide variety of materials and techniques including different
and video. Between construction and decay, and within these processes of transformation, types of drawing; sculpture in concrete, metal, wood and board; ceramics; textiles; printing;
materials become mediums for exploring the space they inhabit, revealing the complexity of text; and forms of curation and exhibition design. Working in museum, gallery, public space
its syntax and the vulnerability of its structure. and the space of both existing and imagined architecture, I often intervene and reconsider
narratives both historical and personal. I use archival material and invented forms, true stories
During her residency at IASPIS, Bugatti plans to experiment further within the framework of and imperfect memories—blending fact and fiction sometimes in equal measure—to produce
her performance series “Rehearsing brutality, until it is totally destroyed”, initiated in 2020 installations, images and objects that are at times functional, at times fantastical, occasionally
in collaboration with the Stuttgart Ballet. commemorative and often mysterious, playing with levels of subtlety and immersiveness. 
My work posits the human and the overlooked against the broad stories of history, using the
Chiara Bugatti holds a BFA from the Accademia di Belle Arti di Venezia, Italy (2014); an individual—even an imagined individual—as a lens onto past times and how our understanding
MFA from the Umeå Academy of Fine Arts, Sweden (2016); and a Postmaster from the Royal of them continues to ripple today. I put pressure on the belief systems of the archive and I draw
Institute of Art in Stockholm, Sweden (2021). She was a fellow at Akademie Schloss Solitude out feminist counter-histories.
in Stuttgart, Germany (2020). Her work has been recently exhibited at Kunstmuseum
Stuttgart, Germany (2021); Borås Konstmuseum, Sweden (International Sculpture Biennial, Katarina has recently received a Now+There Public Art grant, a Graham Foundation grant,
2018); and Uppsala Konstmuseum, Sweden (Anna-Lisa Thomson Scholarship, 2016). and was a fellow at the Radcliffe Institute for Advanced Study. Recent solo exhibitions include
Providence College Galleries; Anthony Greaney; Usdan Gallery at Bennington College;
Neubauer Collegium of the University of Chicago, ViPer in Prague; Significant Other,
in Vienna, 2020.

chiarabugatti.com
10 Lisa Trogen Devgun Mark Frygell 11
Studio grant holder in Stockholm Studio grant holder in Stockholm
1 April - 30 September 2021 1 April - 30 September 2021
Born 1984, Norrköping, Sweden. Born 1985 in Umeå, Sweden.
Lives and works in Stockholm Lives and work in Stockholm
Lisa Trogen Devgun´s practice is based on the function and aesthetics of global logistics, Mark Frygell´s work challenges our notion of what is commonly referred to as high and low
the influence of which she believes permeates our entire society. In recent years, Lisa has worked culture. Recently, his practice explores the relationship between mythology and fantasy in
with materials from the logistics sector, including pallets and plastic containers, and her practice art history, individual reference and the broader collective context. Mark uses the process of
has expanded from pure installations of readymades to other more or less invisible systems that collecting, sorting and sketching as research to intuitively produce work. He remixes signs and
underpin our way of life. Her large sculptural installations incorporate photography and video, signifiers from the peculiarities of mainstream culture, art history and folk art. What presents
to reveal automated systems and production chains where human beings are absent. itself as an odd figurative expressionism is, in its core, an exploration of material, composition
and references where the visual world unfolding is a consequence of digging through the bin
During her residency at IASPIS, Lisa will focus on materialising the presence of the of our collective unconsciousness, presenting it from his individual perspective.
human hand in logistics.
Mark Frygell studied at The Academy of Fine Art Umeå, Sweden; and Akademie der bildende
Lisa Trogen Devgun has an MFA from the Royal Institute of Art (2020); and a BFA from Künste in Vienna, Austria. His work has been shown at Moderna Museet in Stockholm; ZKU in
Konstfack University College of Arts, Crafts and Design (2015), Stockholm. Recently, she Berlin; VästerboWens Konstmuseum in Umeå; Galleri Andrehn Schiptjenko in Stockholm; Galleri
participated in Leaking Container, Index Festival 2020, Stockholm; Royal Institute of Art Thomassen in Gothenburg; Chart Art Fair in Copenhagen; among others. Since 2018 he is
Graduation Show, Royal Academy of Fine Arts, Stockholm 2020; objects of horror, Vera Baxer, represented by Galleri Andrehn Schiptjenko in Stockholm and Paris.
Stockholm 2019; DELAY STRUCTURE, Gislaveds konsthall, 2019–2020.

lisatrogendevgun.com markfrygell.com
12 Frida Hållander and Åsa Norman Juan-Pedro Fabra Guemberena 13
Studio grant holders in Stockholm Studio grant holder in Stockholm
1 October 2020 - 30 June 2021 1 October 2020 - 13 May 2021
Frida. Born 1981 in Dalstorp, Sweden. Born 1971 in Montevideo, Uruguay.
Lives and works in Stockholm Lives and works between Stockholm, Berlin
Åsa. Born 1984 in Stockholm, Sweden. and Montevideo
Lives and works in Stockholm Moheda (1966-2016) is the working title of what I want to develop as an interdisciplinary art
project. The subjects are: memory, myths and identity creation of a particular culture/site/
Frida Hållander and Åsa Norman have collaborated closely since 2014. Their most recent geography. The starting point of my research is the actual ruin that is now the abandoned
collaboration is an on-going artistic work, The factory girls – The wilful textile worker, that wants (and obliterated) refugee camp of Moheda, located in southern Sweden. During the 70’s it
to highlight and discuss the conditions, knowledge and resistance of women in the textile and accommodated mainly political refugees from South America. I myself arrived to this very
home industry; their willingness and self-will, which is expressed in organization, professional camp in the late 70’s as a child fleeing with my parents from the dictatorship in Uruguay.
pride and strategies.
Juan-Pedro Fabra Guemberena graduated from The Royal College of Art (MFA)
During their residency at IASPIS, Frida and Åsa will work on a book, and artistically in various in Stockholm, 2002.
materials, around the play Fabriksflickorna – makten och härligheten (The Factory Girls – The
Power and Glory) by the directors Suzanne Osten and Margareta Garpe (1980). The play and His work has been exhibited extensively internationally, among other in the exhibition Delays and
its comprehensive archive and documentation material address a complex historical process of Revolutions, at the 50th Venice Biennale, 2003; My Private Heroes, Marta Herford Museum,
the Swedish textile and clothing industry in the 1960s and 1980s, during which several industries 2006; The Moderna Exhibition, The Modern Museum of Art, Stockholm, 2006; Favored
underwent a restructuring process. The project examines how the textile industry has left traces Nations, 5th Momentum Biennial, Moss, 2009; 1st Biennale of The Americas, Denver, 2013;
in bodies and how the experiences of these bodies have erected the industry. Through crafts The School of Kyiv, Kyev Biennial, 2015; University Of Disaster, at the 57th Venice Biennale, 2017.
methods, Frida and Åsa listen to testimonies and knowledge from the Swedish textile industry;
a restructured industry that today faces global, social and ecological challenges. He is represented in collections such as The Modern Museum of Art, Stockholm; Sammlung
Goetz, München; and The Wanås Foundation, Knislingen, Sweden.
Frida Hållander is a craft-artist and holds a PhD from Konstfack and HDK-Valand The Faculty
of Fine, Applied and Performing Arts, University of Gothenburg, Sweden. Her doctoral thesis Latest exhibition includes an online (confined) production of the monologue Kassandra by the
Whose Hand is Making? A Sister-Text about Craft, Class, Feminism and the Will to Contest dramaturg Sergio Blanco. Fabra Guemberena has collaborated with performer/dramaturge
(2019), includes a case study which addresses the thematics of textile and the collective story of Oxi in Helsinki staging a non-binary Kassandra who, from inside quarantine, narrates present
women that have worked in sewing factories and homebased industry.  developments. The play is remotely directed and filmed with a mobile phone. The masks of the
fridahallander.se ancient Greek drama are now replaced with facial filters.

Åsa Norman is a textile artist educated at HDK Steneby, Dals Långed, Sweden, and Konstfack,
Stockholm, Sweden. Her work deals mainly with how different female organizations and
formations have been formed socially and politically throughout history, but also in the present.
She is often researching how ways of working within the field of textile can organize acts of
resistance.
asanorman.com

juan-pedro-fabra-guemberena.com
14 Gözde Ilkin Lap-See Lam 15
Online residency 9 April - 30 June 2021 Studio grant holder in Stockholm
Born 1981 in Kütahya, Turkey. 1 April - 30 September 2021
Lives and works in Instanbul, Turkey Born 1990 in Stockholm, Sweden.
I work on domestic fabrics such as table cloths and curtains, which are characterized as spaces Lives and works in Stockholm
of identity and culture. The material gives some details about the social process as a kind of
memory-object. I use these fabrics as stages or space, that allow me to install my motifs and Using fiction as a tool, and particular interior aesthetics of Chinese restaurants as a formal
images onto them. Stitching process and working with fabrics help me to depict today‘s cultural language, Lap-See Lam draws attention to the cultural history of these spaces and how the
information, political and social relationships, and gender issues. idea of a place constructs notions of cultural identity and belonging. Through sculpture and VR
technology, her work constitutes an expanded anthropological enquiry that explores the fluidity
While in residency, I will focus on stories about symbols of power in family issues. I will search of language, identity and cultural histories.
images, objects and stories that are representing movements of social change including power
issues. I am planning to realize an installation as a stage, with an arrangement of drawing, During her residency at IASPIS, Lap-See plans to produce works for an upcoming solo exhibition
fabric-poetry and sound. at Bonniers Konsthall that opens in spring 2022.

Gözde lkin studied painting at the Fine Arts Faculty of Mimar Sinan University, and Master’s Lap-See Lam´s work has been presented at venues including Magasin III, Stockholm (2020-
degree at Marmara University, in Istanbul. Selected solo exhibitions include Organized 2021); the collection exhibition at Moderna Museet, Stockholm (2019-2020); Galerie
Habitation, Galerie Paris- Beijing, Paris (2019); Cruise of Endless Confession, Françoise Heitsch Nordenhake, Stockholm (2020); Performa 19 Biennial, NY (2019); Fondation Cartier, Paris
Gallery, Munich (2019); Absent Demonstration Gözde lkin, artSümer Gallery, Istanbul (2017). (2019); Moderna Museet, Malmö (2019-2018): and Luleå Biennial (2018). In 2021 she was
awarded the Dagens Nyheter Culture Prize.
Selected group shows include The Event of a Thread: Global Narratives in Textiles, Istanbul
Modern (2019); Dancing with Witches, A Digital Exhibition, British Council (2019); 15th Istanbul
Biennale “A Good Neighbour” (2017); Spaceliner, Arter, Istanbul (2015).

gozdeilkin.blogspot.com lapseelam.com
16 Sandra Medina Sebastian Moske 17
Studio grant holder at The International Studio grant holder in Malmö
Dance Program in Stockholm 20 June – 20 September 2021
15 April - 30 June 2021 Born 1984 in Stade, Germany.
Born 1979 in Stockholm, Sweden. Lives and works in Berlin, Germany 
Lives and works in Stockholm In my artistic practice I work with the Western literary canon as an archive of emotions
and a possible psychological template. Text-collages of cut-up lines become the base for
Sandra Medina is a dancer, actress and choreographer with a long experience of working within performative interpretations. Video-images are shot at locations in the city I visit relating to
interdisciplinary practices. She is a freelancer based in Stockholm and works in the dance and the texts; used as stages for narrative investigations. 
theatre field. Since 2004 she is part of a collective platform called Bastardproduktion.
During my residency, I will focus on the Swedish literary canon while discovering the city of
Important and recurring in my work are collaborations and co-creation; exploration of Malmö - whereby I’m very interested in the history of the 20th century, the construction of the
the contract and contact with the audience; humor, openness, intersectional perspectives, Welfare State, and the literary traditions concerning crime.
improvisation, the unexpected; the body as my guide; adaptations, resistance, power
shifts, restoration.  The video »I myth you« will be shown at Gallery Night Malmö in C-Sal, at Malmö Konsthall.
 
During my residency at IASPIS I will focus on two projects. Hemsjuka - performance presented The video is in collaboration with Mary-Anne Buyondo, Hans Carlsson, Saga Gärde and
in 2018, which I am revisiting and adapting into a film exploring homesickness, our time of Yasmine El-Baramawy, and will be the first of two videos dealing with my time in the city,
geographical, ideological and social homelessness; our bodies as homes and places; and with questions around community and society, and the pleasure of narrative thrills. 
choreography and empathy as means to grasp cases of homesickness. Going where the sun
keeps shining, together with the choreographer, dancer and vocalist Ellen Söderhult. We will
explore sounds´ musical choreography, making this interdisciplinary work create a new space,
somewhere we have never been before.

My projects within different collaborations include: Newfoundland, 2003; Nobody is completely

evil, 2005; IngeIngeInger, 2007; Svensk Norm- Skulle du vilja se den här föreställningen, 2009-
2011; Measured Moment, 2013 -2017; Skippin through the graveyard, 2014; Allt du önskar, 2016;
Bothering the othering, 2017; Bodywood 2017; Hemsjuka, 2018; Dom outtryckta, 2019-2021;
The dark heart and the sweet part, 2019-2021.

bastardproduktion.se sebastianmoske.com
18 Tatiana Pinto Raha Rastifard 19
Studio grant holder in Stockholm Studio grant holder in Stockholm
1 October 2020 - 15 October 2021 1 April - 30 September 2021
Born 1978 in Rio de Janeiro, Brazil. Born in Iran. Lives and works in Stockholm
Lives and works in Stockholm In Raha Rastifard´s work, we find traces of transcultural, poetic and historical elements.
Affirming interculturalism, she works with messages that she considers universal, navigating
My work combines activism with artistic research, particularly in relation to architecture. between disciplines and applying different mediums to her art-works - from painting and
Perceiving buildings as engines for social change, I unveil and expose neglected narratives of printing, to photography and sculpture. In recent years, Geometry has had a strong influence
the built environment in order to advocate anti-capitalist, anti-fascist, anti-racist and decolonial in her work. 
spaces in our cities and society.
During her residency at IASPIS, Raha will further study Persian geometries’ footprints in
My artistic practice also reflects upon my own responsibilities as an architect, and my position particular, and geometries in general in the art world and the architectural design. She aims
as an artist engaging in social and political struggles. Experimenting with different media, to further develop techniques mastered during the years of working with geometries, to come
my interdisciplinary approach uses art spaces as a platform for public engagement. to new techniques.

While at IASPIS, I will research and prepare Act 3 of Trialogue, a tripartite play/performance Raha Rastifard is an Iranian-German artist with a BA in fine arts from the National University
about architecture, politics, sexism, fascism, colonialism, modernism and personal responsibility. of the Arts in Tehran; two MAs in European and Middle Eastern art history and Iranian studies,
Acts 1 and 2 centered on the meeting of three existing characters and voices, confronting from the Freie Universität Berlin; and Project Studies in Free Art for Professional Artists, Royal
different narratives in order to write a counter-history. Act 3 is a conversation between Oscar Academy of Fine Arts, Stockholm. She has exhibited at the Victoria & Albert Museum in London
Niemeyer, the most prominent Brazilian architect and an icon of Brazilian modernism; trained in connection with her nomination for the Freedom to Create prize; the Pergamon Museum in
architect Aida Boal; and anarcho-feminist writer Maria Lacerda de Moura. Their dialogue will Berlin; and several other cities including New York, Pori, Avesta, Tokyo, Delhi and Shanghai.
contest the persistent myth of Brasilia as an acclaimed progressive modern realisation. Bringing Latest public art projects include: The Fifth Element, Östergötland Museum in Linköping,
to light the fact that Niemeyer’s 1960 Senate House didn’t include female toilets until 2015, Act Sweden, 2020; and Himmels Passagen, tunnel under Tycho Hedéns väg, in Uppsala,
3 evidences the homogenisation, segregation and exclusion inherent to the modernist project. Sweden, 2021.
The absence of the toilets — not to mention the normalisation of this architectural deficiency
for 55 years — demonstrates the various degrees of violence architecture can perpetrate.
Trialogue holds architects accountable for the conservative political agenda present within their
designs. Further, Trialogue envisions how different Brazil’s politics would be today if Brasilia had
been designed by and for women.

I am trained as an architect at the Federal University of Rio de Janeiro. I worked in the field for
more than 10 years, both in my own practice and collaborating with others. I hold a master’s
degree in Sustainable Architecture from Bologna University, and a master’s degree from Bartlett
Development Planning Unit at University College London. Currently, I collaborate with the
post-master course ‘Decolonizing Architecture Advanced Studies’ at the Royal Institute of Art
in Stockholm. Trialogue Act1 was presented at Manifesta 12, in 2018 in Palermo, and here in
Stockholm, at the Italian Institute of Culture, in 2019.

raharastifard.com
20 Ayedin Ronaghi Stefan Tcherepnin 21
Studio grant holder in Stockholm Studio grant holder in Stockholm
11 January - 30 June 2021 4 November 2020 - 30 June 2021
Born 1986 in Tehran, Iran. Born 1977, Boston, USA.
Lives and works in Stockholm Lives and works in Stockholm
The Gathering is an ongoing project that began as a reaction to what I have perceived as the Stefan Tcherepnin is a mixed media artist, composer and musician. His work often takes the
splintering and silence within my family and circle of friends in Iran. A splintering engendered by form of immersive, meta-narrative installations that integrate painting, sculpture, video and
a chaotic and violent history with decades of political instability and conflict. The project is part found objects. Tcherepnin’s approach is inherently collaborative and he frequently unites with
of a series comprising three textile installations with sculptures and text, where I explore how other artists, musicians and writers to create environments in which spontaneous actions and
individuals interact with their violent surrounding over time, the traces left behind, and what they performances may unfold.
relate when words are no longer sufficient.
Alongside his visual art practice, Tcherepnin is a composer and performer of avant-garde
At IASPIS, I will focus on developing the next part of the series, titled THE VIRTUAL TRENCH. music. His critically acclaimed recording of visionary composer Maryanne Amacher’s Petra
for Two Pianos (alongside pianist Marianne Schroeder), was released by Blank Forms Editions
Education: 2017 – 2019 Master of Arts programme, Konstfack University College of Arts, in 2019, as was his band Afuma’s debut album, Songs From the Shore. His duo PSST (with
Crafts and Design. drummer Paul Sigerhall) also released a cassette, Real Gospel, on Stockholm imprint STYX/
PTROLEUM in 2019.
Latest exhibitions: Eskilstuna Konstmuseum – Solo show March – August 2021; “THREADS”,
Norrtäljes Konsthall, Ayedin Ronaghi – Britta Marakatt – Labba – Linnéa Sjöberg – Leyun Wang, During his residency at IASPIS, Stefan intends to produce a mutating immersive installation,
February – March 2020; “ÄNTLIGEN HEMMA” (Home at Last), Rian design museum, May – connecting with other creative individuals interested in unlocking, activating and channeling
August 2020. transformative energies through found and produced objects. He plans to document the creative
process and present the resultant emergent narrative structure as a video, and in performances
(musical and otherwise) with and by participating individuals.

Upcoming exhibitions: Aspen Art Museum, USA; Le Consortiom, Dijon;

Fitzpatrick Gallery, Paris.

Recent solo exhibitions: Kunstalle, Zürich; Stedelijk Museum, Amsterdam; Freedman Fitzpatrick,
Los Angeles; Real Fine Arts, NYC; Francesca Pia, Zürich.

Recent group exhibitions: Dependence, Brussels; Blank Forms, NYC; Greene Naftali, NYC; Halle
für Kunst, Lüneberg; Tbisili 16, Georgia; Künstlerhaus Bremen; and Kunsthaus Glarus.

ayedinronaghi.com freedmanfitzpatrick.com/artists/stefan-tcherepnin
22 Traces from the program Claire Wellesley Smith 23

From: Resilient Stitch

24 25
26 Katy Beinart 27

From: Migration and meanings of

regeneration through a series of
journeys in search of salt practices
28 Colin Sterling 29

From: Affective past, Hauntology,

Immersivity
30 31
32 33
34 Dilşad Aladağ and Eda Aslan 35

From: Archival work, The Garden

of (not) Forgetting, in Tutun De-
posu, Istanbul
36 37
38 39
40 41
42 Marcia Sá Cavalcante Schuback 43

From: Personal reference index,

the rhetoric of the image, the obtuse,
psychology, collective consciousness,
mythology and fantasy
44 45
46 47
48 49
50 Javier Montes 51

From: Fiction and the character

52 53
54 55
56 57
58 Post Workers Theatre 59

From: Post Workers Theatre

60 61
62 63
64 65
66 Marisa Brown 67

From: Fiction, archive, art

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70 Bios from the invited guests Claire Wellesley-Smith 71
Claire Wellesley-Smith is an artist, writer and researcher based in Bradford, West Yorkshire. 
She studied politics as an undergraduate at Newcastle University and has a Masters degree
in Visual Arts from Bradford School of Art. She is currently a doctoral candidate at the Open
University researching slow craft practices and engagement with personal and community
heritage. She specialises in projects that use local, natural colour, created from home-grown
and locally foraged plants. Dyes and stitches on reclaimed cloth are used in slow processes
that allow time for consideration of methods of production and narratives of use. Claire uses
archival research as the starting point for her work, looking at locations and community stories.
Cloth, dye and stitch are then used as carriers of the natural and social history of place. Socially-
engaged arts projects are a key part of Claire’s practice. Her projects are often long-term
community-based engagements and explore the ways that place, heritage and memory can
connect people to their surrounding environment.

clairewellesleysmith.co.uk

Katy Beinart
Katy Beinart is an interdisciplinary artist, whose art works include installation, public art, film
and performance; and Senior Lecturer in Architecture, University of Brighton. After studying
architecture, Katy has practiced as an artist since 2004, combining art and architecture to make
artworks in the public realm as well as exhibiting in galleries, festivals and biennales in the UK
and internationally.

She uses processes of participatory research and social practice to respond to the context and
history of places and people, and her work examines relationships between heritage, history and
memory, culture and environment, performance and ritual, migration and home. She draws on
past and present material cultures in her projects, often adapting old technologies, found objects
and everyday activities and rituals. Her work aims to reveal and question pasts, and ask how
these belong in the present circumstances of places, and might shape their futures. In this sense
she is interested in memory as a practice that is active and alive.

katybeinart.co.uk

Colin Sterling
Colin is Assistant Professor in Memory and Museums at the University of Amsterdam; and
a Curator. Colin’s research focuses on critical-creative approaches to heritage, memory and
museums. He is interested in how artists, designers, architects, writers and other creative
practitioners engage with museums and heritage as spaces of critical enquiry. He is currently
project co-lead on Reimagining Museums for Climate Action, a design competition, exhibition
and research project that aims to inspire radical change in museums to address the climate
crisis. He teaches across museum studies, heritage and memory, art history and artistic research,
and is a member of the Amsterdam School for Heritage, Memory and Material Culture. Colin
was previously an AHRC Research Fellow at UCL Institute of Archaeology. He was Principal
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Investigator on the New Trajectories in Curatorial Experience Design project (Feb 2019 – Jan
2021), which asked how emerging approaches to immersive and experiential design might
contribute to critical heritage thinking and practice. He was also a Post-Doctoral Research
Javier Montes 73
Associate on the AHRC Heritage Priority Area project (Oct 2017 – Dec 2019), and a Project Javier Montes (Madrid, 1976) is a novelist and essayist. His work has received, among
Curator at the Royal Institute of British Architects (Jan 2016 – June 2017). He has worked as a other recognitions, the Anagrama Essay Award, the Pereda International Novel Prize, the
heritage consultant internationally, specialising in curatorial planning and interpretation. Leonardo Grant from the Fundación BBVA, the Santa Maddalena Foundation Fellowship,
Colin is the author of Heritage, Photography, and the Affective Past (Routledge, 2020) and and the Civitella Ranieri Fellowship for his inclusion in the anthology The Best Young Spanish
the co-editor of Deterritorializing the Future: Heritage in, of and after the Anthropocene (Open Language Novelists by the literary magazine Granta. He has recently been shortlisted as
Humanities Press, 2020). He is co-editor of the journal Museums & Social Issues (Oct 2020 – ). one of the six candidates for the 2022 Eccles Centre/British Library and Hay Festival Writers
Award, to be announced at the British Library in London this November 30.  Among his
colinsterling.com recent books are Luz del Fuego (Anagrama, 2020), The Mysterious Case of the Murder of
Modern Art (Wunderkammer, 2020), Stranded in Rio (Anagrama, 2016) and The Hotel
Life (Anagrama, 2012). 

Dilşad Aladağ and Eda Aslan He collaborates with El País, Granta, The Lit Hub, Brick and The Brooklyn Rail, and his work
has been translated into English and six other languages. He writes about contemporary art
Dilşad Aladağ is an architect, artist and researcher from Turkey, currently pursuing her graduate in Artforum, Art Agenda, Artnews, El País, Texte zur Kunst and Revista de Occidente, and has
studies in Weimar. She has worked in several architecture offices, been part of exhibition and film curated exhibitions, directed seminars and given lectures at the Museo Reina Sofía, Museo del
projects and co-founded “Plankton Project” urban collective. She conducts “The Garden of (not) Prado, IVAM and the Institute of Fine Arts at NYU. He has been a professor of History of Art
Forgetting” research and exhibition project with Eda Aslan since 2017. While her artistic research at the Colegio Español of Malabo (Equatorial Guinea) and in the Master of Contemporary
practice is focused on collective memory, remembering practices and archives, in her academic Culture of the Fundación Ortega y Gasset. He has a degree in History of Art from the
works, her main focus areas are the emerging urban heritage conflicts in Europe and specifically Universidad Complutense (Madrid) and achieved the Cours de License at the Institut de l´Art
in Turkey, and the role of unofficial heritage narratives. et d´Archeologie of La Sorbonne-Paris IV.  Although he has lived, loved and worked in Brazil,
Lisbon, Equatorial Guinea, Buenos Aires and Florence, he always ends up back in Madrid, where
Artist Eda Aslan focuses on the concepts of history, space, personal and collective memory. he has family and friends and fond memories and feels as much at home as one can ever feel in
She draws a sharp line between the past and the present, seeking to resist what is erased this vast planet.
through the ephemerality of the now. Through exploratory techniques, Eda traces the archaic,
the documentary in found materials. She runs the research collective The Garden of (not)
Forgetting, which she founded with the architect and artist Dilşad Aladağ in 2017.
The Garden of (not) Forgetting received several research and production funds. Post Workers Theatre – Dash
Eda graduated from the sculpture department of Marmara University, Fine Arts Faculty, in 2017,
where she also completed her Master’s degree in painting. She is currently pursuing her graduate
MacDonald and Nicholas
studies in Time Based Media, at the HFBK as a DAAD - German Academic Exchange Service
scholar. Eda Aslan is born 1993 in Istanbul. She lives and works in Hamburg and Istanbul. Mortimer
Post Workers Theatre is a design troupe investigating the future of politically engaged

Marcia Sá Cavalcante Schuback performance, reimagining historic forms of creative resistance for a contemporary context.
They work across a rich profusion of forms, using co-production to confront social issues and
create a shared learning experience. Their aim is to work with diverse groups to explore and
Marcia Sá Cavalcante Schuback is a specialist in Phenomenology, German Idealism, express complex topics in accessible ways. Through performance and play they look to share
contemporary philosophy, and aesthetics. Professor of philosophy at Södertörn University in narratives of hope and resistance.
Sweden, she is the translator of Martin Heidegger’s Being and Time into Portuguese. She is also
the author of several books and numerous articles touching upon themes of phenomenology, PWT is a collaborative practice that brings together Dash N’ Dem, [Dash Macdonald and
existentialism, hermeneutics, and political thought. Among her latest publications are: Time in Demitrios Kargotis] and Nicholas Mortimer. PWT have over 10 years experience producing
Exile: in conversation with Heidegger, Blanchot and Lispector; and Fascism of Ambiguity. participatory and performative projects and exhibiting internationally with a variety of partners
including: Arts Council England / Tate Liverpool / V&A London / Helsinki Art Museum /
Barbican / Dundee Contemporary Arts / Critical Media Lab Basel / Cabaret Voltaire / Subtext
Berlin / Create London / Athens Biennale / Kunsthal Viborg.

postworkerstheatre.com/about
74 Marisa Brown Traces from the grant holders 75
Marisa Angell Brown is a cultural historian and critic with interests in public art, architecture,
cities, preservation and spatial justice.  Her new project, a book tentatively titled Inheritance:
Dispatches from the Heritage Wars, explores recent conflicts over representations of Black and
Indigenous people in historic buildings and spaces.

She is the author of “Can This Place Be Decolonized?” (Places Journal, forthcoming),
“Preservation’s Expanded Field” in Doing Public Humanities, ed., Susan Smulyan (Routledge
Press, 2020) and “Preservation’s Existential Crisis” (June 19, 2020), National Trust for Historic
Preservation Leadership Forum.  Her writing has appeared in The Providence Journal, Art New
England, Perspecta, Buildings and Landscapes, and the Journal of the Society of Architectural
Historians, and her exhibitions and installations have been covered by Metropolis, Architectural
Record, the National Trust for Historic Preservation, and Rhode Island Public Radio. She
delivered the keynote address, Inheritance: What We Preserve and Why, at the January 2020
annual meeting of the Providence Preservation Society.

Brown is the Assistant Director for Programs of the John Nicholas Brown Center for Public
Humanities and Cultural Heritage at Brown University, where she teaches graduate seminars
titled Introduction to Public Humanities and Critical Approaches to Preservation and Cultural
Heritage.  She is Korean-American, and grew up in Dubai and New York City.  She has a PhD
in the History of Art from Yale University, an MA in History from the University of Chicago,
and a BA in Religion from Princeton University.  She serves on the Executive Committee of the
Association of Critical Heritage Studies, the State Review Board for the Rhode Island State
Historic Preservation Office, and on the board of the Rhode Island State House Restoration
Society, where she co-chairs the Interpretation Working Group. Her research has received grant
funding or awards from the Graham Foundation, the Luce Foundation, the Terra Foundation
for American Art, the Society of Architectural Historians, the Rhode Island Foundation, Rhode
Island Council for the Humanities, and the City of Providence’s Department of Art, Culture and
Tourism.  Brown regularly serves on design juries at the Rhode Island School of Design for the
Department of Interior Architecture, and has served on review committees for the National Park
Service and the National Trust for Historic Preservation. 

brown.edu/academics/public-humanities/people/marisa-brown
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