E2-E4: ”Filialen and the Art of the Strike”, Ingela Johansson.
”Filialen and the Art of the Strike”
Between 1971 and 1973, the space at the Royal Institute of Art which is today known as Rutiga Golvet (”the checkered floor”), housed Filialen, an experimental annex to Moderna Museet. Filialen became one of the central locations for the period’s alternative movement in Sweden. Its intense program featured pioneering exhibitions, assemblies, and events around such topics as the civil rights movement, feminism, “third world” solidarity, egalitarian ecologies, and critical media pedagogy. During this session, we will discuss the legacies of Filialen, as well as the relationship between the work of the artist and the strike.
Ingela Johansson, ”The Art of the Strike”
When the great miners’ strike in Northern Sweden broke out in the early 1970s, artists across the country mobilized to lend their resources and support. This presentation will discuss the artistic responses to the strike wave, on the part of several artists and activists connected to Filialen, among others. It will also adress feminist criticisms of the predominantly patriarchal language of the strikers, as well as the purposes and problems of revisiting these histories today.
Kim West, ”The First Circle: Filialen and the Information Center Project”
This presentation will outline the general framework within which Filialen was first conceived: the project to devise a new kind of art museum on the model of a high-tech Information Center. Relating this project to the concurrent activities of the Art Workers’ Coalition in the US, I will discuss the specific cultural and institutional policies underlying the Filialen endeavor, as well as the anti-fetishist exhibition practices that were developed there.
E2-E4 is the name of the most common opening move in chess, the one that sets the game in motion. E2-E4 is also the name of a program for theoretical activities, exhibitions, and publications at the Royal Institute of Art, Stockholm. “Theory” is here conceived not as academic superstructure or epistemic authority, but as orientation, as that first grasp of our own situation, and of its location in a wider system, network, or totality, which may allow us to begin, to go from the disorientation of undefined possibility, to the provisional determination of practice. The program will explore the use values of the exhibition as a critical information system, in the service of education, aesthetic experience, and public dissemination.
The E2-E4 program is created by guest professors Kim West, Lars Bang Larsen, and curator Stefanie Hessler.