Bøker av Maria Lind

A survey and exhibition catalog looking at a century of the migrant experience as realized and expressed through art. How have artists over the past 150 years related to migration and exile? And what role can a museum play in times of mass migration? Taking as its starting point the 2019 exhibition Migration: Traces in an Art Collection, which featured more than a hundred works from Malmö Konstmuseum made between 1880 and today, this publication brings to light the radical approach of museum director Ernst Fischer, who in 1945 transformed the museum into a refugee shelter for survivors of German concentration camps. It also highlights the museum's long-forgotten Latvian Collection, comprised of art acquired in solidarity with the young Baltic nation and its exiles. Contrasting works by exiled artists such as Sonia Delaunay-Terk, Lotte Laserstein, Endre Nemes, and Peter Weiss further animate the discussion, as do the geopolitical concerns of Pia Arke, Öyvind Fahlström, and Charlotte Johannesson. Correspondingly, a conversation with the exhibition's curators foregrounds the ways in which today's artists reflect upon and articulate experiences of migration. Together, these re-readings of the collection and its potential contribute to an urgent debate on the role of museums in our time. Contributors Ernst Fischer, Lars-Erik Hjertström Lappalainen, Maria Lind, Lotte Løvholm, Joanna Warsza, and Cecilia Widenheim

Documenting a project that turned a suburb of Stockholm into a museum that produced concrete images of a Sweden where divides are intensifying.This book documents and discusses Tensta konsthall's experimental multiyear project "Tensta Museum: Reports from New Sweden" that ran from 2013-18 in the Stockholm suburb of Tensta and beyond. Tensta is dominated by a late modernist housing estate, built on old farmland with traces from both the Iron Age and the Viking era, where today nearly 20,000 people live, a majority with a trans-local backgrounds. More than fifty artists, architects, performers, sociologists, cultural geographers, philosophers, and others contributed artworks, research projects, seminars, guided walks, workshops and much more, reporting on the past and present of Tensta, creating a "museum." The project produced concrete images of what can be described as the New Sweden--a place with people of vastly different backgrounds, where economic and social divides are intensifying. Tensta Museum also engaged with the concept of cultural heritage and the complicated matter of how it is used in Sweden and elsewhere.ContributorsAction Archive, Adam Tensta, Ahmet Ögut, Babi Badalov, Carl Larsson, Dominique Gonzalez Foerster, Emily Fahlén, Erik Stenberg, Irene Molina, the Kurdish Association, Lawrence Abu Hamdan, Mekonen Tekeste, Meron Mangasha, Petra Bauer, Ricardo-Osvaldo Alvarado, Spånga Local Heritage Association, Tarek Atoui, the Tensta Hjulsta Women's Center, Tensta Library, Beatrice von Bismarck, Boris Buden, Christina ZetterlundCopublished with Tensta konsthall

Seven years in twenty-first century contemporary art, as seen in a series of columns by curator and writer Maria Lind.Seven Years offers a subjective chronicle of contemporary art during the second decade of the twenty-first century, seen through a series of columns by curator, writer, and educator Maria Lind. Writing for the print edition of ArtReview, Lind considers individual artworks and exhibitions and contributes to conversations and debates developing in the art world and beyond. She explores work by Haegue Yang, Hassan Khan, Uglycute, Tania Perez-Cordova, and Walid Raad, among others, and discusses such exhibitions as dOCUMENTA (13), the Sharjah Biennial 12, the 3rd Ural Industrial Biennial, and several editions of the Venice Biennale.Lind's writings are accompanied by other texts: artists Goldin+Senneby discuss Lind's materialist approach through the use of the word "hand" in the introduction to the volume; Sofía Hernández Chong Cuy reflects on how writing can affect curatorial work, and vice versa; artist Ahmet Öğüt conducts an imagined interview with Lind; and Philippe Parreno weaves a summary of the years between 2010 and 2018, highlighting the notion of potentiality. A postscript by Lind's fellow curator Joanna Warsza compiles a glossary of the book's key ideas and terms.ContributorsGoldin+Senneby, Sofía Hernández Chong Cuy, Ahmet Öğüt, Philippe Parreno, Joanna Warsza