PART ONE – 14:00-16:30
Artist presentations by Sophie Erlandsson, Elin Wikström & Runo Lagomarsini who present their practices and talk about artistic strategies, narratives and perspectives with Annika Lundgren against the background of her research project Performing Resistance / Transformative Narratives.

SOUP – 16:30-17:30

PART TWO – 17:30-21:00

Seminar on experimental art education and art institutions.
Johan Forsman and Annika Lundgren will screen parts of the documentaries below and discuss pedagogy and possible alternatives to the present day university education in art.

Welcome to spend your Sunday with meaningful conversations and in good company!
Johan & Annika



Baylis Glascock:
We Have No Art , 26 min (1967)
Mary’s Day, 12 min (1964)

Focusing on the Pop Art print-maker, educator and Catholic nun Sister Corita Kent, educator at Immaculate Heart College: these two works document Kent’s teaching and art practice, including a visit to a car wash by her drawing students and then the Mary’s Day parade that Kent led on the grounds of Immaculate Heart College in Los Angeles in 1964.

Patricia Holland:
The Hornsey Film, 60 min,  (1970)

is about the student revolt at Hornsey College of Art, UK in May 1968 and shows the claims for student autonomy in the face of art educational re-structuring in Britain. The film was made as a re-enactment by the protagonists and teachers who had engaged in the infamous six-week occupation of Hornsey, in June and July 1968.

Ron Mann:
Dream Tower, 47 min,  (1994)

focuses on the short-lived Rochdale College in Toronto (1968-75) which was established by a group of idealistic students in the late sixties who hoped to challenge reigning educational models. The free college accepted many kinds of people into the fray from hippies and homeless to drug-dealers and draft-dodgers, however the lack of regulation and direction resulted in chaos and its eventual closure.

Cathryn Davis Zommer and Neeley House:
Fully Awake: Black Mountain College, 70 min (2005)

is a documentary exploring ‘education in a democracy’, and highlights how this experimental college, based in North Carolina from 1933-1957, influenced ideas on community, collaboration, and American modern art.