https://mourningschool.com Mourning School Wed, 15 Feb 2023 11:26:18 +0000 https://mourningschool.com en https://mourningschool.com/Top-Page Wed, 21 Jul 2021 13:20:18 +0000 Mourning School https://mourningschool.com/Top-Page <img width="1779" height="715" width_o="1779" height_o="715" data-src="https://freight.cargo.site/t/original/i/c58c3f82edb22519c3f39bebfb09ae56da5492e9d60f36fa55c453f65a8bf163/wwww.logo-black-frame.png" data-mid="115200789" border="0" data-scale="51" src="https://freight.cargo.site/w/1000/i/c58c3f82edb22519c3f39bebfb09ae56da5492e9d60f36fa55c453f65a8bf163/wwww.logo-black-frame.png" /> Recent &nbsp; whine ∿ wail ∿ whimper Fullersta Gård&nbsp; Read more hereSorgebibliotek Art Lab Gnesta Read more here &nbsp; https://mourningschool.com/Feed-Resume-of-all-projects Wed, 21 Jul 2021 17:01:39 +0000 Mourning School https://mourningschool.com/Feed-Resume-of-all-projects <img width="5000" height="5000" width_o="5000" height_o="5000" data-src="https://freight.cargo.site/t/original/i/3a16eff4cfd16f9511ebc4d690499af05f1138b2185b1f99d502564e18e3369a/webms.png" data-mid="168494514" border="0" src="https://freight.cargo.site/w/1000/i/3a16eff4cfd16f9511ebc4d690499af05f1138b2185b1f99d502564e18e3369a/webms.png" /> leijuvat ∿ liehuvat ∿ liitelevät // whine ∿ wail ∿ whimper leijuvat ∿ liehuvat ∿ liitelevät // whine ∿ wail ∿ whimper is an open invitation to experiment with the voice as a generative instrument for healing and grieving. During the open studios we share part of our research into voice activation and grief through a work in progress that brings together a soundscape by artist Jonas Holmer, a lyric inspired by Ingrian runo-songs written by musician Emmi Kuittinen, and a moaning instruction by artist Raoni Muzho Saleh. HIAP Helsinki International Artist Programme 18 November 2022 – 19 November 2022 Image: participants in the moaning installation, HIAP Open Studios. Photo: Mourning School. READ MORE ︎ <img width="5000" height="5000" width_o="5000" height_o="5000" data-src="https://freight.cargo.site/t/original/i/db7511d7949b4830faf5b2927bfd036d47097f909c2e294e831b54b2a1cf152a/Ayla.png" data-mid="144183918" border="0" src="https://freight.cargo.site/w/1000/i/db7511d7949b4830faf5b2927bfd036d47097f909c2e294e831b54b2a1cf152a/Ayla.png" /> Sometimes Time&nbsp;Sometimes Time is a film program on life, loss, rituals, transitions and togetherness developed by Mourning School with contributions by: Alexander Rynéus, Angela Bravo, Ayla Dmyterko, G, Julia Heijligers, Karin Keisu &amp; Josse Thuresson, Lise Fischer, Louis Hothothot, Martin Smatana, Mathilde ter Heijne, Natalia Papaeva, and Natasha Tontey. Taking place between 18 and 19 June with public events at Tranebergsbron (Saturday, 18 June 23:00-00:30), and Fylkingen (Sunday, 19 June 13:00-17:00), accompanied by an educational program on view during opening hours at Vårby Gård Biblioteket (7-19 June) and Kista Biblioteket (7-19 June). Various locations in Stockholm 7 June 2022 – 19 June 2022 Image: A still from the film Rite of Return by Ayla Dmyterko.&nbsp; READ MORE ︎ <img width="5000" height="5000" width_o="5000" height_o="5000" data-src="https://freight.cargo.site/t/original/i/59659540fc5aee10be83d4c2cab595287ac13538f08160f61d530e7907eac110/G-INSTA8.png" data-mid="135858859" border="0" src="https://freight.cargo.site/w/1000/i/59659540fc5aee10be83d4c2cab595287ac13538f08160f61d530e7907eac110/G-INSTA8.png" /> Dear, don’t forget to bring a carton of milk on your way home xDear, don’t forget to bring a carton of milk on your way home x is a series of letters developed in collaboration with Dear, an Amsterdam-based artist initiative run by Martha Jager. Focused on experiences of, and reflections on queer mourning, and grief in the everyday, we sent out monthly letters written and composed by artists, collectives and writers MYCKET, Pamela Sneed, G, Manuel Solano and Every Ocean Hughes. The letters, postmarked Stockholm, were delivered to people’s homes between October 2021 and February 2022.&nbsp; Shared via Post 15 October 2021 – 25 February 2022 Image: A letter by G written sent in December 2021.&nbsp; READ MORE ︎ <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/6e0070c4b8207dcbed7cc7bfd53b607551ceae459e481405f2f683939639aac3/Color_for_web.jpg" data-mid="115370314" border="0" src="https://freight.cargo.site/w/1000/i/6e0070c4b8207dcbed7cc7bfd53b607551ceae459e481405f2f683939639aac3/Color_for_web.jpg" /> Morte liiiiiiiiifffeeee, still naaaattuuuree by Garance Wullschleger and Anna Reutinger&nbsp;Morte liiiiiiiffeeeeeee, still naaaaaattuuuuree pulls us in a myriad of directions as we wade through the messiness of accepting extinction—and all that might come after. For this immersive installation Reutinger and Wullschleger invited friends and loved ones to reflect on the question of the end of our world as a beginning of new worlds. The outcomes are stitched into a cocoon of second hand textiles dyed with food scraps, the air filled with whispers, unfamiliar languages, and guttural tones. Galleri Nef &nbsp; 19 – 29 August 2021 Image: Anna Reutinger and Garance Wullschleger, Morte liiiiiiiiifffeeee, still naaaattuuuree, bed sheets, cotton canvas, coffee, beets, onion skins, rust, beer, dahlias, soundtrack, Jedna Dva Tři Gallery, Prague, 2019. Photo: We Give You Good. READ MORE ︎ <img width="1806" height="1804" width_o="1806" height_o="1804" data-src="https://freight.cargo.site/t/original/i/66eb8e9c843bc44681a4a7c09c3b60adec1e437ce77793ff281f4090325bd11f/Screenshot-2021-08-04-at-13.03.23.png" data-mid="115371031" border="0" src="https://freight.cargo.site/w/1000/i/66eb8e9c843bc44681a4a7c09c3b60adec1e437ce77793ff281f4090325bd11f/Screenshot-2021-08-04-at-13.03.23.png" /> Re: Re: Re: Re: by Clementine Edwards and Ada M. Patterson Re: Re: Re: Re: is a series of gentle missives, videos as call and response, between Ada M. Patterson from Barbados and Clementine Edwards from Naarm and then Rotterdam. In the correspondence, they speak to their shared experiences of life back home as potentially untenable, and the ways it provokes a complicated grief rooted in trans-ness, administration, climate, and the (dis)possession of land and body. Re: Re: Re: Re: makes space for a textured and emotional confrontation between their bodies and the world, riddled with desire for, and attempts at anchoring themselves in their surroundings, histories and land, yet failing to, or resisting these impulses at the same time. Galleri Nef 18-23 June 2021 Image: Ada M. Patterson, My Dysphoria is Brown (video still), 2021 READ MORE ︎ https://mourningschool.com/About-Visit Fri, 23 Jul 2021 06:18:24 +0000 Mourning School https://mourningschool.com/About-Visit <img width="623" height="386" width_o="623" height_o="386" data-src="https://freight.cargo.site/t/original/i/6a3e0dc16f3109c9464040fecfb22ab04903418add27f16a7314c690b5d0490a/Sticker_hand_WWW.jpg" data-mid="115455345" border="0" src="https://freight.cargo.site/w/623/i/6a3e0dc16f3109c9464040fecfb22ab04903418add27f16a7314c690b5d0490a/Sticker_hand_WWW.jpg" /> About Mourning SchoolMourning School is an artistic study program on the notion of being in grief as the stuff of our everyday, initiated by Lucie Gottlieb and Rosa Paardenkooper. In a series of exhibitions, public programming and publications, we imagine new ways of collective mourning to give name to, and make space for the feelings that come with death, dying, loss and mourning. The vulnerability of life - threatened by climate, health, political, social and economic crises resulting in inequity and precarity, loneliness and isolation - makes the proximity to death and loss more tangible. Central to Mourning School lies the question: who gets to live and die, who is remembered and who is deemed ungrievable? In response, Mourning School proposes queerness, in its most expansive form, as a method and framework to subvert and unsettle Western understanding and norms of death and mourning - as an individual problem or medical diagnosis - and the stigma that surrounds them.About usLucie Gottlieb (b. 1991, Paris, she/her) is an independent curator, heartfelt cultural worker and stained-glass artist. She is the co-founder of Galleri Nef in Stockholm, and works for Supermarket Art Fair. Her interests and practice explore, through radical empathy, a range of affective notions including death, cultural heritage, public feelings, and ritualism. Rosa Paardenkooper (b. 1993, ‘s-Hertogenbosch, she/they) works as an independent curator, translator and editor. In their practice she explores public feelings through collaborative translation, digital accessibility, mental health awareness, and critical pedagogy. Rosa previously worked as curator of language &amp; dissemination at Casco Art Institute: Working for the Commons. Primary venue Galleri Nef is a studio and exhibition space located in Bagarmossen, Stockholm (se). Initiated by Lucie Gottlieb and Tomas Sjögren in 2020, it was founded with the objective of giving shape to diverse practices and providing an accessible diffusion platform to emerging artists. Nef houses 6 studio spaces and a gallery.&nbsp; AccessibilityGalleri Nef is not wheelchair accessible. The entrance door is 80cm-wide and is followed by two 15cm-high steps. <img width="600" height="600" width_o="600" height_o="600" data-src="https://freight.cargo.site/t/original/i/f5a7a175137f82885e51db26deb400e01901339ef899002a3d70cd8f3a84a47f/white_for_www.png" data-mid="115374312" border="0" data-scale="37" src="https://freight.cargo.site/w/600/i/f5a7a175137f82885e51db26deb400e01901339ef899002a3d70cd8f3a84a47f/white_for_www.png" /> Galleri NefRusthållarvägen 9512843 Bagarmossengallerinef.com Mourning School’s program in 2022-23 is made possible with financial support from Kulturrådet.&nbsp;In September 2022, Mourning School will be in residence at HIAP. Mourning School’s program in 2021-22 was made possible with financial support from Kulturrådet, The Nordic Cultural Foundation through the Globus Opstart Grant. With project support from Stockholm Stad and Stichting Stimuleringsfonds Rouw. https://mourningschool.com/Dear Thu, 09 Sep 2021 12:38:19 +0000 Mourning School https://mourningschool.com/Dear Dear, don’t forget to bring a carton of milk on your way home x <img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7e5978ac396b5f4a3b277d84fffc150be4e4fc1f3f58ecb9cc9a9688c154bbcb/Dear-MS-_-No-Name-_-Blue.png" data-mid="119656230" border="0" src="https://freight.cargo.site/w/1000/i/7e5978ac396b5f4a3b277d84fffc150be4e4fc1f3f58ecb9cc9a9688c154bbcb/Dear-MS-_-No-Name-_-Blue.png" /> A postal project&nbsp; October 2021 - February 2022Audio-essay An audio-essay on the series by Dear, and Mourning School is published in the sixth issue of No Niin magazine. Read &amp; listen&nbsp;here.&nbsp; Dear, don’t forget to bring a carton of milk on your way home x is a series of letters developed in collaboration with Dear, an Amsterdam-based artist initiative run by Martha Jager.&nbsp;Focused on experiences of, and reflections on queer mourning, we will send out monthly letters by five contributing artists, authors and poets between October 2021 and February 2022.&nbsp;The title Dear, don’t forget to bring a carton of milk on your way home x refers to (last) messages received by those people who are no longer with us. It stems from a conversation we had on messages we received or found in hindsight: a shoppping list tucked away in a book, a teasing text message, a postcard... It relates to the unexpectedness with which these messages suddenly show up in our day to day, stirring up a range of emotions at different intensities.&nbsp; This everydayness of grief formed the invitation to MYCKET, Pamela Sneed, G, Manuel Solano and Every Ocean Hughes, who have each reflected on it in letters written or otherwise composed.&nbsp; Letter #1 MYCKET&nbsp;In fact all things are always already trash, all buildings already ruins &amp; all creation nothing more than devastation.&nbsp; The first letter in the series was sent out on Friday, 15 October 2021 and is written by the art- design &amp; architecture group MYCKET. MYCKET was initiated in 2012 by the designers, architects and artists Mariana Alves Silva, Katarina Bonnevier, Ph.D., and Thérèse Kristiansson.&nbsp; MYCKET tries to work from a set of interacting perspectives; queer, feminism, class, anti-racism, the more than human. Their artistic research practice, which often takes place together with others in large networks, has generated a breadth of results; large-scale theatre productions, permanent public spaces, costumes, details, works of art, instruments, exhibitions, animations, performances, text and theory production, education and lectures.&nbsp; Letter #2 Pamela Sneed&nbsp;At any rate standing up/saying no to my mother I hope is the willingness to save my own live, to say to and for myself my Black life does matter.&nbsp; The second letter in this series was sent out on Friday, 19 November 2021 and is written by New York-based poet, writer, performer and visual artist Pamela Sneed.&nbsp;In 2020 City Lights published Sneed’s poetry and prose manuscript Funeral Diva. In 2022 she published the chapbook If The Capitol Rioters Had Been Black with F Magazine and Motherbox Gallery. She is also the author of Imagine Being More Afraid of Freedom than Slavery, KONG and Other Works, Sweet Dreams and two chaplets, Gift by Belladonna and Black Panther. Sneed is widely published in journals such as The Brooklyn Rail, Art Forum Magazine, The Paris Review, and Frieze Magazine. She currently has work on view at the Leslie Lohman Museum.Letter #3 G I also wonder why I am so obsessed with you...you’re just like the dying. Reliant, liquids only, need bathing and you also have strange doo doo. On Friday, 24 December 2021 we posted the third letter written by visual artist G, they shared the following with us about their practice:‘ONGOING’ – 2021 Luton, The Galaxy, The mall. The 'Anti Bio’.‘Non performers’, ‘Non Dancers’ everything that we are told we are not good at or need a qualification for. Humour x 100000 Saying I am everything but an artist and watching how people’s facial expression change. Power Dynamics FREE ART SCHOOLS. Anthropology. The internet (beware 2nd hand information and the vacuous). Comedians. Performance as a survival technique. Embarrassing myself during depressive episodes. Bass players. The West Indies specially Barbados. Semantics. My Mother and Father (RIP). Sci Fi as a survival technique. Britishness. Mental Health. Sub woofers. Dressing up as other things. Joy. ‘Non-Artists’. Friends above the age of 70yrs old. Exciting poetry. My Blackness/whitenes. My ongoing Death Doulaship training (Be weary of it being done). #G deathlyg.com&nbsp;Letter #4 Manuel Solano&nbsp;Went on to try and put a spell on you and ended up cursed myself. For you I wanted to be the best, the pretties, the least scary. Your girl in your arms.&nbsp; Visual artist Manuel Solano’s letter left our post-office in Stockholm on 28 January 2022.&nbsp;Manuel Solano (b. 1987 in Mexico City, MX) studied at the National School of Painting, Sculpture and Printmaking in Mexico City. In 2013 Solano went blind due to complications related to an HIV-related infection. Since then, Solano developed unique methodologies to continue an art practice which includes painting, video, and installation, and which explores memory and identity, as well as balances the autobiographical with pop cultural imagery. Recent solo presentations include the ICA Miami, curated by Alex Gartenfeld, Peres Projects, Berlin and the Museo de Arte Carrillo Gil, Mexico City, curated by Guillermo Santamarina. Solano has also participated in group exhibitions at the Palais de Tokyo, curated by Hugo Vitrani and Fabien Danesi, Peres Projects as well as The New Museum Triennial in New York, co-curated by Gary Carrion-Murayari and Alex Gartenfeld. Solano recently had a solo exhibition at Pivô in São Paulo. Letter #5 Every Ocean Hughes&nbsp;When I said help the Dead,&nbsp; I meant you&nbsp; I meant you and me, I meant you&nbsp; We closed the series with a letter written and composed by visual artist Every Ocean Hughes, postmarked Stockholm on Friday 25 February 2022.&nbsp;Every Ocean Hughes (FKA Emily Roysdon) (b. 1977) is an interdisciplinary artist based in Stockholm, Sweden. The artist’s recent projects take the form of performance, photographic installations, printmaking, text, video, and curating. Her many collaborations include music with The Knife, Colin Self, and JD Samson &amp; MEN; costume design for choreographers Levi Gonzalez, Vanessa Anspaugh, Faye Driscoll, and the band Le Tigre. Hughes has been the subject of solo exhibitions at Kunsthalle Lissabon, Lisbon (2017); Secession, Vienna (2015); PARTICIPANT INC, New York (2015); Art in General, New York (2011); and the Berkeley Art Museum (2010). The artist has received commissions for new work from Tate Modern, London (2012, 2017), the Stedelijk Museum Amsterdam (2013–14); Portland Institute of Contemporary Art (2013–14); and the Kitchen, New York (2010). A major exhibition of Hughes’ work is on view at the time of writing at Moderna Museet, Stockholm in 2022 and a new commission with the Whitney Museum of American Art in 2023. ColophonThis letter series is made possible with support from The Swedish Art Council and Stichting Stimuleringsfonds Rouw.&nbsp; ︎ https://mourningschool.com/Sometimes-Time Mon, 06 Jun 2022 07:19:21 +0000 Mourning School https://mourningschool.com/Sometimes-Time Sometimes Time&nbsp; <img width="1008" height="567" width_o="1008" height_o="567" data-src="https://freight.cargo.site/t/original/i/0ff578934c3f402dd0225e3ae31920d5e006a792c20ae4841e15c165c3b74342/Wa_anak-Witu-Watu_work-in-progress_02.jpg" data-mid="144638412" border="0" alt="Natasha Tontey, Wa'anak Witu Watu (2021)." data-caption="Natasha Tontey, Wa'anak Witu Watu (2021)." src="https://freight.cargo.site/w/1000/i/0ff578934c3f402dd0225e3ae31920d5e006a792c20ae4841e15c165c3b74342/Wa_anak-Witu-Watu_work-in-progress_02.jpg" /> A film program at Tranebergsbron (18 June, 23:00-00:30) and Fylkingen (19 June,13:00-17:00) and an educational program at Vårby Gård and Kista Biblioteket (7-19 June 2022) Sometimes time presents films on intergenerational loss, transitory rituals and togetherness developed by Mourning School. Taking place between 18 and 19 June with public events at Tranebergsbron (Saturday, 18 June 23:00-00:30), and Fylkingen (Sunday, 19 June 13:00-17:00), accompanied by an educational program on view during opening hours at Vårby Gård Biblioteket (7-19 June) and Kista Biblioteket (7-19 June). In an act of reclaiming public space as a place for mourning, we invite you to gather with us for a midnight screening at Tranebergsbron to see the works of Ayla Dmyterko, Karin Keisu &amp; Josse Thuresson, Mathilde ter Heijne, Natalia Papaeva, and Natasha Tontey. As the clock strikes midnight, words in Tornedalian, Swedish sign language and Buryat get stuck in movements and muscles that have lost their way as the languages slowly disappear. Under the bridge, we lament these losses through transitory rituals in the form of Karelian lamenting songs, the Ukrainian healing technique Strakh vylyvaty, and the faded boundaries between life and non-life in Minahasa cosmology. On Sunday 19 June, we invite you to Fylkingen to discover the works of Lise Fischer, G, Julia Heijligers, Louis Hothothot and Alexander Rynéus. During this day-time film screening, every particle of light unveils flickering images reminiscing, and manifesting&nbsp; impressions of mortality through personal stories and memories of very different families. We witness how one experiences, shares and prepares for loss and grief across generations whilst coming together over moments of grace, doubts and sorrow. Sometimes Time is accompanied by an educational program that reflects on intergenerational relationships and loss through the works of Martin Smatana and Angela Bravo. The animated film The Kite by Smatana is on view during opening hours at Vårby Gård and Kista libraries between 7 and 19 June, the film is accompanied by a working book for children with questions and drawing exercises to gently prompt them to reflect on the feelings that accompany loss.︎ Alexander Rynéus&nbsp;is a Stockholm based film director, cinematographer and artist. Previous films include the feature documentary debut ”Giants and the Morning After”, ”Autonomous”, Stekenjokk and the Guardians of the Eggs” and ”The Home and the Cavity”. His work often consist of place specific art projects surrounding storytelling, mythology and different layers of a place and its conditions. Glittering Night Sky (2022)&nbsp;A glittering night sky, the act of looking and a time to pay attention to the way my parents speak to each other. A film that departs from a longtime project surrounding an old glitter factory in Dalarna where my grandparents once lived. Ayla Dmyterko (b.1988, she/her) is a Ukrainian-Canadian artist based in Glasgow raised on Treaty 4, the territories of the nêhiyawak (Cree), Anihšināpēk (Saulteaux), Dakota, Lakota, and Nakoda, as well as the homeland of the Métis/Michif Nation. She has exhibited her work at international galleries and institutes including VITRINE, Basel &amp; London; CCA Glasgow; Lunchtime Gallery, Glasgow; Projet Pangée, Montréal; and forthcoming with Alchemy Film Festival, Hawick.&nbsp;Rite of Return (2021) This moving image work simultaneously reflects on Marianne Hirsch’s text Rites of Return whilst extending the Rite of Spring – a riot-inducing ballet originally performed by the Ballet Russes. The initial narrative circles around a sacrificial virgin dancing herself to death, appropriated aesthetically and thematically from Ukrainian folklore. In this version, the soloist awakens fraught with solastalgia due to ecological decline and lack of community. She remedies this by drawing upon old-country aphorisms and the poetic structures of Strakh vylyvaty or pouring forth the fear, a Ukrainian healing technique to remedy anxieties, especially those related to land. In folklore globally, themes of dance, desire and death are repetitive. These connections are important for me, as I believe that folklore will survive amongst congregations not defined as culturally specific. Instead, it can be enveloped by likeminded individuals interested in intersectional dialogue and education, envisioning spaces of transformation through perseverance and practise. The audio, text and imagery within the film is a poetic bricolage of free association, symbolism and embodiment. It echoes a fragmentary and porous diasporic imagination illustrating ways that cultural memory exists and ceases through generational slippage. G&nbsp; ‘ONGOING’ – 2022 Luton, The Galaxy, The Mall. Mourning, Death &amp; Dying. The 'Anti Bio’. ‘Non performers’, ‘Non Dancers’ everything that we are told we are not good at or need a qualification for. Humour x 100000. Power Dynamics. FREE ART SCHOOLS. Anthropology. The internet (beware 2nd hand information and the vacuous). Comedians. Performance as a survival technique. Embarrassing myself during depressive episodes. Bass players. Barbados. Semantics. My Mother and Father (RIP). Sci Fi as a survival technique. Britishness. Mental Health. Grinding my hips as slow as I can (Sam I love you). Sub woofers. Dressing up as other things. Joy. ‘Non-Artists’. Friends above the age of 70yrs old. Exciting poetry. My ongoing Death Doulaship training (Be weary of it ever being done)HOME IS WHERE THE WORK STARTS 1988 (2019) 3 generations. What does it mean to outlive your most/onced loved. We are now left. We openly mourn and hold our joy with both of our hands. We have each other, I cannot use words to describe how blesssssssSSSssssssssssed I be. Words fail. 'Get my brain better' methods. Julia Heijligers is a contemporary artist living and working in Amsterdam.&nbsp;Her work arises from a feeling of alienation and largely focuses on character studies. Those who live at the margins of society represent and inspire the characters in her work. What happens when there is no fixed framework to classify someone? How does one’s behaviour and habits influence this classification and how come these alienated characters find shelter in the alienated? These are some of the questions that revolve within Julia’s practice. Her work is translated through painting, wig design and film.Dear Shannon (2021) shares the story of three people whose lives become inextricably linked as their relationships with one another strengthen, and they retreat into a world of their own. &nbsp;The film shows the impact of illness and the loss of bodily functions on a person whose body was known, understood and recognised as outlandish, grand, sensational; an expression of wild thoughts. What does it mean to be 'the queen of the scene' when this is only recognised through a costumed body, a symbol of beauty, vitality and expressiveness? This film shows what hides behind that costume; vulnerability, a new kind of beauty and a body in distress.Karin Keisu&nbsp;(b.1995, Tornedalen) and Josse Thuresson (b.1992, Stockholm) have been working as an artistic duo since 2018. Their projects take the form of text, film, performance, digital installations and curating, addressing politics of language, queer time and the strength of being on the margins. Educated at Oslo National Academy of the Arts, Academy of Fine Arts Vienna, and at Konstfack University of Arts, Crafts and Design. Back to Back (2022) In Swedish institutions such as the Tornedalian workhouses for children and the schools for the Deaf and hard of hearing, children have been punished for speaking Meänkieli and Swedish Sign Language. In this multi-channel film work, the artists put their mother tongues in centre, back to back, with the help of the poets Jamila and Amina Ouahid and Tornedalian activist Fanny Eriksson. The workhouse was a type of charity and boarding school for Tornedalian children and became one of the key institutions in the Swedification of Tornedalen. There were twenty workhouses in Tornedalen between 1903-1954. Today most young Tornedalians cannot speak Meänkieli. Manillaskolan is the oldest school for Deaf and hard of hearing in Sweden. Between 1880-1981 sign language was forbidden as an educational language in favour of the Oral method which included lip reading and speech therapy. In 2013, Manillaskolan was moved, and today many deaf children assimilate into hearing schools and never learn sign language. Lise Fischer is a movie director based in Paris. She directed her first film in 2010. The films of Lise Fischer are anchored in specific places, in which nature is strongly present and the landscape is the main actor. Her movies defend the wild in a political and poetic way. She chooses contemplation over fictional narration and includes a true sound and musical identity. She places the production of images and film at the heart of her practice, thanks to different methods such as filmed video-projection or the use of different film formats. In parallel, she works on installations and video experiments in which she creates correlations between supports and projected images.Lumières Fossiles (2015) In the Pyrénées-Orientales, Jacqueline, 85, retraces the paths that lead to the Pic du Canigou. She is witnessing a memory that, little by little, seems to permeate the mountain… Louis Hothothot is a film, video artist, graphic designer and art critic reviewer. He was trained as a graphic designer in China Central Academy of Fine Arts, as a video artist in Dutch Art Insitute, as film artist in the Netherlands Film Academy. Lousi Hothothot focuses his research on film narrative, cinematic language. His subjects are about “body and movement”, “identity and politics”. His cinematic language research combines graphic design, video art, animation and performance. Louis Hothothot regularly shows his work in cinema, film festivals, museums and theatres.Four Journeys (2021) As the second-born child during the Chinese one-child policy, director Louis Hothothot was illegal for a while. In his film Four Journeys the Chinese-Dutch filmer exposes family traumas by going back to China and interviewing his parents and his sister. A painful history of Mao's China. Mathilde ter Heijne's research based practice is founded in intersectional feminism. She acts as interlocutor within a social system of contemporary and past voices. She explores the role of women in forming cultural identity and re-inscribes the interrelationships between economy, spirituality, politics, and gender relations of societies now and in the past, differing to that of the current patriarchal system. Her installations, performances, films and videos draw on historical material, from archives, reconstructed archaeological artefacts, and ethnographic studies of ritual to resurface these old knowledges and identities, forgotten and ignored voices, to set iterations of these narratives circulating once again. Her work has been widely shown, for instance at Museo de Arte Moderno de Bogotá, National Gallery of Modern Art, Mumbai, Singapore Art Museum, 4th Mediation Biennial, Poznan, ICA Sofia, Museum of Modern Art Arnehm, Shanghai Biennial, MoMA PS1, Kunsthalle Nürnberg, Hamburger Bahnhof, Berlin. Lament. Song For Transitions. (2014)&nbsp;Lamenting is an ancient oral tradition that combines singing and crying. Everywhere in the world, women have traditionally sung and continue to sing these songs at transitional moments in life such as funerals and weddings, or bidding farewell to a loved one. The ritual is used to express suffering and sorrow, heal pain and trauma, and connect the past with the present to advance into the future. The material for Lament, Song for Transitions was recorded at a workshop the artist organized during her stay in Suomenlinna, Helsinki, Finland (2010), where she invited singer Pirkko Fihlman to teach the almost forgotten, ancient Karelian lamenting technique. The video includes footage from Finland’s first re-enactment: Häidenvietto Karjalan runomailla: A Wedding in the Karelian Songlands, 1921 (directed by A. O. Väisänen, U. T. Sirelius). Part of the workshop was held at the Karelian Pentinotsa house at the Seurasaari Open-Air Museum, Helsinki. Various types of video transitions including jump cuts, fades, blurs, blends, dissolves and masks become an important formal element that hold image sequences together, resisting the idea of a smooth, linear story. Natalia Papaeva&nbsp;is an artist, born and raised in Buryatia (Eastern Siberia). Since 2013, she has lived and worked in the Netherlands. Her artworks mainly take the shape of performances and video art. A starting point for Natalia's work can be an imaginative dialogue, a text or a confrontational memory. She graduated from the Royal Academy of Art in the Hague in 2018 with the award-winning work Yokhor. In 2021 Natalia received a Mondriaan Stipendium for Emerging Artists. In September 2022, Papaeva will start her residency in the Rijksakademie, Amsterdam. Yokhor (2018) I forgot my mother tongue. And I am not the only one. Many people in my native Buryatia (Siberia) are losing their language. The Buryat language is one of nearly 2600 languages likely to disappear. Of all 6000 languages in the world, 43% are endangered and I am going through this process myself. In my performance, I am singing two sentences from a Buryat traditional song. The only two sentences I remember. Natasha Tontey is an artist living and working in Yogyakarta, Indonesia. Her artistic practice predominantly explores the fictional accounts of the history and myths surrounding ‘manufactured fear.’ In her practice, she observes any possibilities of other futures that are projected not from the perspective of major and established institutions, but a subtle and personal struggle of the outcasted entities and beings. Her work has been shown at Asian Art Biennale 2021, Hamburger Bahnhof - Museum für Gegenwart (Berlin), transmediale 2021, Performance Space 2021, Other Futures 2021, Singapore International Film Festival 2021, Kyoto Experiment 2021, Asian Film Archive (2021), amongst others. In 2020 she received the HASH Award from ZKM and Akademie Schloss-Solitude and is currently a fellow for Human Machine of the Junge Akademie at Akademie der Künste Berlin 2021-2023. Wa’anak Witu Watu (2021) Researched and speculated on the North Sulawesi where once belief that the first person was a woman and gave birth through a stone, Wa’anak Witu Watu investigates the fiction, myth, and cosmology of the Minahasan and their relation to the geo entity stone and stone as gift economy. The indigenous practice of Minahasa tribe—where humans celebrate their form of communication with stone—is understood as only a pre-institutionalised religion practice and categorised as animist belief. However, for people living there they see themself practicing monotheism. There are almost no boundaries between Life and Non-Life in Minahasa cosmology. In this work, the dynamic of Minahasan cosmology is explored alongside its potential to imagine an alternative world where the phenomena of anthropocentrism practically does not exist. ColophonThis film program is made possible with support from The Swedish Art Council.&nbsp; ︎ https://mourningschool.com/Half-Full-Babes-Mix Thu, 13 Jan 2022 15:06:25 +0000 Mourning School https://mourningschool.com/Half-Full-Babes-Mix HALF FULL BABES MIX Vård och Värde &amp; With tired backs, and hearts with room for more&nbsp; <img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/ffc624537c7f706e8ec5bb2b16feef7b0a04c472adbb1e913e2ce67308665b93/G-horizontal-web.png" data-mid="130158986" border="0" data-scale="75" alt="G, HALF FULL BABES (crop), 2021 // www.deathlyg.com" data-caption="G, HALF FULL BABES (crop), 2021 // www.deathlyg.com" src="https://freight.cargo.site/w/1000/i/ffc624537c7f706e8ec5bb2b16feef7b0a04c472adbb1e913e2ce67308665b93/G-horizontal-web.png" /> Scrolla ned för svenska About For the second edition of the newspaper Vård och Värde and the exhibition With tired backs, and hearts with room for more at Kalmar Konstmuseum Mourning School presents a mixtape that strings together fragments of gathered sound, voice and music that relate to questions of ageing, death, end of life and mourning, hospice and care work. Entitled HALF FULL BABES - MIX, the tape is described by Mourning School as a sonic footnote to the work HALF FULL BABES by visual artist G, which is made in dedication to care workers and can be found on the front cover of the Vård och Värde #2 newspaper. In a dreamlike world we travel from Ronja Rövardotter’s mother who reminds us we are all born and will all die to the complexities of carework in the 1980s international HIV/AIDS crisis, through the voices of David Wojnarowicz, Steve Sjöquist and Kerttu Sturesson, amongst others. Anne Boyer describes caring for a sick woman as caring for arms, Christine Bylund critiques the bureaucratic system that saves lives when they begin but doesn’t sustain them as they live on. All of this and more, set against a backdrop of music composed by dolphins in heaven. Full track list below the Swedish text. OmMourning School presenterar ytterligare ett av sina konversations stycken, den här gången i form av ett blandband som syr samman&nbsp; fragment av samlade ljud, röster och musik om åldrande, död, livets&nbsp; slutskede, sorg, hospis och vårdarbete. Verket heter Half Full Babes –&nbsp; Mix och beskrivs av Mourning School som en sonisk fotnot till verket Half Full Babes av konstnären G som dedikerades till vårdarbetare och som pryder omslaget till tidningen Vård och Värde #2.&nbsp; I en drömlik värld rör vi oss från Ronja Rövardotters mamma, som påminner oss om att vi alla föds och dör, till komplexiteten i vårdarbetet&nbsp; under 1980-talets internationella HIV- och AIDS-kris, via bland andra&nbsp; David Wojnarowicz, Steve Sjöquist och Kerttu Sturessons röster.&nbsp; Anne Boyer beskriver hur att vårda en sjuk kvinna är som att vårda ett&nbsp; vapen, Christine Bylund kritiserar ett byråkratiskt system som räddar&nbsp; liv när det börjar men inte upprätthåller detta under livets gång. Allt&nbsp; detta och mer är satt mot en bakgrund av musik som komponerats av&nbsp; Dolphins in Heaven.&nbsp; Tracklist&nbsp; 1. dolphins in heaven, Mercury in Retrograde 2. Lovis in Ronja Rövardotter, 1984 3. Leif Kananen (älderomsorgschef) in I livets slutskede, 2016 4. Crying baby (sample, author unknown) 5. Female voice whispering ‘wake up’ (sample by lady imperatrix) 6. Trinh T Minh-ha, Reassemblage, 1982 7. bell hooks in conversation with Laverne Cox at the New School, 2014 8. Steve Sjöquist in Den längste resan, är resan inåt - Filmen om Steve by Staffan Hildebrand, 2005 (Retrieved from the Face of AIDS Film Archive) 9. Ann Boyer, Is Also A Loaded Gun (excerpt), 2015 10. Marja Fihman (anhörig) in I livets slutskede, 2016 11. dolphins in heaven - Memorial 12. Trinh T Minh-ha, Reassemblage, 1982 13. Christine Bylund, Att Andas Eld, 2020 14. Audre Lorde, Litany for Survival: the life and work of Audre Lorde by Ada Gay Griffin &amp; Michelle Parkerson, 1995 15. Bröderna Lejonhjärta, opening, 1977 16. Seanna McKanna in The Year of Magical Thinking based on the book by Joan Didion, 2009 17. Kerttu Sturesson in Smittad, 2012 18. Ann Cvetkovich in The Alphabet of Feeling Bad by Karin Michalski, 2012 19. dolphins in heaven - for marcia 20. various hospital sounds (samples, authors unknown) 21. Leif Kananen (äldreomsorgschef) in I livets slutskede, 2016 22. David Wojnarowicz in Bust by Richard Morrisson, 1991 23. Maya Angelou, Still I Rise (excerpt), 1978 24. Krister Pettersson in Smittad, 2012Colophon We would like to extend our grattitude to Jenny Richards and Ulrika Flink for their invitation and care, to Jonas Holmer (dolphins in heaven) for allowing us to use his music, to G for their trust and stunning art work, to Arash Pandi for their work on the final mix, to Louise Khadjeh-Nassiri for the design of the newspaper, and to David Sriwanat for English-Swedish translation support.&nbsp; This mixtape was made in response and relation to the drawing HALF FULL BABES by G, 2021 for the second issue of the newspaper Vård och Värde. The mix will also be presented in the exhibition With tired backs, and hearts with room for more at Kalmar Konstmuseum between 9 February and 17 April 2022.&nbsp; Vård och Värde is a collective project made by care and cultural workers in collaboration with the art spaces Konsthall C, MINT and Kalmar Konstmuseum and supported by Kulturbryggan. ︎ https://mourningschool.com/Morte-liiiiiiiiifffeeee-still-naaaattuuuree Mon, 02 Aug 2021 12:42:23 +0000 Mourning School https://mourningschool.com/Morte-liiiiiiiiifffeeee-still-naaaattuuuree Morte liiiiiiiiifffeeee , still naaaattuuureeAnna Reutinger and Garance Wullschleger <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/0f0e2ce58028a9e99f4fbbbc19030bb0d23f11e7da651bce57e06b305d7c2dfc/IMG_0829.JPG" data-mid="117193017" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/0f0e2ce58028a9e99f4fbbbc19030bb0d23f11e7da651bce57e06b305d7c2dfc/IMG_0829.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/89a382be7de5dfb1fdc258b5ea1d2c2e695e102be6991293f07ddee8e832f984/IMG_0779.JPG" data-mid="117195396" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/89a382be7de5dfb1fdc258b5ea1d2c2e695e102be6991293f07ddee8e832f984/IMG_0779.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/ef552f376e7fe718e21628ea1115f537bf28034b78fe23fb195e30dce3c63a78/IMG_0988.JPG" data-mid="117898651" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, Galleri Nef, 2021. Photo: Garance Wullschleger" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, Galleri Nef, 2021. Photo: Garance Wullschleger" src="https://freight.cargo.site/w/1000/i/ef552f376e7fe718e21628ea1115f537bf28034b78fe23fb195e30dce3c63a78/IMG_0988.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/d20f19c170ece90101c9d144c9a5438b033d673a357bd14d8f629f2831d47959/IMG_0878.JPG" data-mid="117195414" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/d20f19c170ece90101c9d144c9a5438b033d673a357bd14d8f629f2831d47959/IMG_0878.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/3b12f320a49ee01a2fce00c3c76ff0d3b77437ce810f4c62d8b388ebfbd6b35a/IMG_0951.JPG" data-mid="117195964" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/3b12f320a49ee01a2fce00c3c76ff0d3b77437ce810f4c62d8b388ebfbd6b35a/IMG_0951.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/8c91c2789dbbd8b748c2ab325f09f5684bbf16820f3b87246ea86f3faf543abe/IMG_0863-2.JPG" data-mid="117194817" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/8c91c2789dbbd8b748c2ab325f09f5684bbf16820f3b87246ea86f3faf543abe/IMG_0863-2.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/1a9dd7ccaf8e23b48f3eada32477693286721fd9feff50155c3928b46e5655bd/IMG_0737.JPG" data-mid="117195390" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/1a9dd7ccaf8e23b48f3eada32477693286721fd9feff50155c3928b46e5655bd/IMG_0737.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/b446f011f3c58572e6bc5a7de87c17afb3f31db714c3f96d0f5c051276eb37d9/IMG_0840.JPG" data-mid="117193018" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/b446f011f3c58572e6bc5a7de87c17afb3f31db714c3f96d0f5c051276eb37d9/IMG_0840.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/a7c409afca534e4141210a1d7edec911e1d587b343883a7534ba52c1253e1eee/IMG_0996.JPG" data-mid="117898653" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, Galleri Nef, 2021. Photo: Garance Wullschleger" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, Galleri Nef, 2021. Photo: Garance Wullschleger" src="https://freight.cargo.site/w/1000/i/a7c409afca534e4141210a1d7edec911e1d587b343883a7534ba52c1253e1eee/IMG_0996.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/aa7d921f9db2129c0971628b22b469b39cba01920a58b4e2367dbce9646e329f/IMG_0890.JPG" data-mid="117195417" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/aa7d921f9db2129c0971628b22b469b39cba01920a58b4e2367dbce9646e329f/IMG_0890.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/39e9cf15d2ba344cbd883690a57c247cbcd871e8c5dcea8424664b39ddefeece/IMG_0950.JPG" data-mid="117193022" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/39e9cf15d2ba344cbd883690a57c247cbcd871e8c5dcea8424664b39ddefeece/IMG_0950.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/705ea0d970dfb9b927351c43deee497840525a3fc5d31f5d1220e276b560ccf7/IMG_0941.JPG" data-mid="117193020" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/705ea0d970dfb9b927351c43deee497840525a3fc5d31f5d1220e276b560ccf7/IMG_0941.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/49984dea88f0914d2dc19287da202fb9a9c22b047c3f85c40d0de61b552b3af1/IMG_0990.JPG" data-mid="117898652" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, Galleri Nef, 2021. Photo: Garance Wullschleger" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, Galleri Nef, 2021. Photo: Garance Wullschleger" src="https://freight.cargo.site/w/1000/i/49984dea88f0914d2dc19287da202fb9a9c22b047c3f85c40d0de61b552b3af1/IMG_0990.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/4e05ed6f7666b17863c30eb3ee2c675586df163044eaf4d0a8be132548bf7be7/IMG_0954.JPG" data-mid="117193023" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/4e05ed6f7666b17863c30eb3ee2c675586df163044eaf4d0a8be132548bf7be7/IMG_0954.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/1c90a20000871f1fb1dac71ff466c686bf2ce6648d3f2eca8e1f2235d7452e5a/IMG_0940-2.JPG" data-mid="117193019" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/1c90a20000871f1fb1dac71ff466c686bf2ce6648d3f2eca8e1f2235d7452e5a/IMG_0940-2.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/483ad07a8e0396a7033b0ff810c8167b9a70ef4372d6a9a399bf4e54962343ce/IMG_0852.JPG" data-mid="117195400" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, exhibition opening, Galleri Nef, 2021. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/483ad07a8e0396a7033b0ff810c8167b9a70ef4372d6a9a399bf4e54962343ce/IMG_0852.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/e4d82500ebcbd9e492e70d0bce9b146799e1469fc509319a5ffdb3c74315035e/IMG_0727.JPG" data-mid="117898650" border="0" alt="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, Galleri Nef, 2021. Photo: Garance Wullschleger" data-caption="Anna Reutinger &amp; Garance Wullschleger, Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree, Galleri Nef, 2021. Photo: Garance Wullschleger" src="https://freight.cargo.site/w/1000/i/e4d82500ebcbd9e492e70d0bce9b146799e1469fc509319a5ffdb3c74315035e/IMG_0727.JPG" /> At Galleri Nef 19-29 August, 2021 Exhibition opening 19 August, 17-21 Opening hours 20-22 August, 12-17 27-29 August, 12-17 it was the beginning, it was the end, it was the continuity trash turned to tea bags, dyeing the world a new shade of green a lot of sex going on, the distinction gone between you and me everyone was everything and needed only each other and coffee from the fortress and sulphuric muck tiny fish knives too cute to cut morte life is not dead life but still life is tough smash a lot, smash a lot, but keep the pieces close pancakes turned to scramble but maybe they’re still edible weave this shit together, yea, that’s all that we know let the flies and mold and rust and roots and stains show ꕤ ꕤ ꕤ Mourning School warmly invites you to Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree an exhibition by Anna Reutinger and Garance Wullschleger presented at Galleri Nef. Morte liiiiiiiffeeeeeee, still naaaaaattuuuuree pulls us in a myriad of directions as we wade through the messiness of accepting extinction—and all that might come after. Both alarming and hopeful, it reminds us that once life is dead it is still nature; in the same way that a tree that falls becomes a life-giving feast for many others. For this immersive installation Reutinger and Wullschleger invited friends and loved ones to reflect on the question of the end of our world as a beginning of new worlds. A question that asks us to stretch our imagination beyond the vocabularies and structures we know so well, and towards affective and abstract ways of knowing. The outcomes are stitched into a cocoon of second hand textiles dyed with food scraps, the air filled with whispers, unfamiliar languages, and guttural tones. This space is not a shelter as the sky falls upon us, but a carrier for stories of possible futures; from the belly of the universe bird flowers, plant minerals, nocturnal bone-slugs, world-fish and vulva trees take root. About the artists&nbsp;Anna Reutinger, b. 1991 in Oakland, California lives and works in Berlin. Her practice combines sculpture, installation and performance to propose a return to craft in defiance of capitalist production cycles and as seed for social, material and environmental empathy. Oscillating between incidental and intentional gestures, she uses found material and social input to expose the transitory nature of things and beings, and their interconnection. Garance Wullschleger, b. 1993 is a French-Swiss artist who lives and works in Lyon. Through performance and installation, photography and text, Wullschleger concocts peripheral narratives of today. Working from lived and collected experience, she samples worlds around her, from the scale of her body to the globe. Through manipulations, camouflages, and montages, she redirects the gaze to immerse the visitor into a universe offset from reality. ColophonMorte liiiiiiiiifffeeee, still naaaattuuuree was first produced during a residency at Petrohradská Kolektiv. The work was made possible with contributions by Isabelle Albuquerque, Fina Anjou &amp; Niklas Büe, Ingrid Blix, Francesca Brusa, Antoine Dochniak, Lena Heinz, Valentýna Janů, Annika Kappner, Štěpán Krahulec, Theis Madsen &amp; David Haack Monberg, Monica Mays, Kaspar Molzberger, Roxie Perkins, Eva Reutinger, Nolwenn Salaün, Tomasz Skibicki, Géraldine Soares.Text in italics by Anna Reutinger and Garance Wullschleger for Morte liiiiiiiiifffeeee, still naaaattuuuree. Editorial support: Ali Watson&nbsp; The exhibition is made possible with support from The Swedish Art Council, Stockholm Stad, and The Nordic Cultural Foundation through the Globus Opstart Grant, and generously hosted by Galleri Nef. ︎ https://mourningschool.com/leijuvat-liehuvat-liitelevat-whine-wail-whimper Wed, 15 Feb 2023 11:26:18 +0000 Mourning School https://mourningschool.com/leijuvat-liehuvat-liitelevat-whine-wail-whimper leijuvat ∿ liehuvat ∿ liitelevät // whine ∿ wail ∿ whimper Raoni Muzho Saleh, Emmi Kuittinen and Jonas Holmer <img width="2600" height="1736" width_o="2600" height_o="1736" data-src="https://freight.cargo.site/t/original/i/a3f2d8dbb94e7c653deadafa88ed3f96645320bf12dd4fffc197415c8e166c80/OS_superfuckingchill.jpg" data-mid="168494964" border="0" src="https://freight.cargo.site/w/1000/i/a3f2d8dbb94e7c653deadafa88ed3f96645320bf12dd4fffc197415c8e166c80/OS_superfuckingchill.jpg" /> <img width="3072" height="2048" width_o="3072" height_o="2048" data-src="https://freight.cargo.site/t/original/i/eb1b2e1d232e617e08ef0f05756972a0086122bf35c7ae4ac47b8044eaead541/gottlieb-paardenkooper_hiap-os-autumn-2022_27.jpg" data-mid="168494929" border="0" src="https://freight.cargo.site/w/1000/i/eb1b2e1d232e617e08ef0f05756972a0086122bf35c7ae4ac47b8044eaead541/gottlieb-paardenkooper_hiap-os-autumn-2022_27.jpg" /> <img width="3072" height="2048" width_o="3072" height_o="2048" data-src="https://freight.cargo.site/t/original/i/e2b2decc007419570f29e5e5809b269209119349bce927b21911b80a492e1117/gottlieb-paardenkooper_hiap-os-autumn-2022_25.jpg" data-mid="168494928" border="0" src="https://freight.cargo.site/w/1000/i/e2b2decc007419570f29e5e5809b269209119349bce927b21911b80a492e1117/gottlieb-paardenkooper_hiap-os-autumn-2022_25.jpg" /> <img width="2526" height="1687" width_o="2526" height_o="1687" data-src="https://freight.cargo.site/t/original/i/c53ee6ec6e6b8894a91737eb978a2c3c8889a3f133d65d62f1c3801ea8ac0ebb/OS_AnnaEleni.jpg" data-mid="168494962" border="0" src="https://freight.cargo.site/w/1000/i/c53ee6ec6e6b8894a91737eb978a2c3c8889a3f133d65d62f1c3801ea8ac0ebb/OS_AnnaEleni.jpg" /> <img width="3072" height="2048" width_o="3072" height_o="2048" data-src="https://freight.cargo.site/t/original/i/599c71a4406db37420c6fd69a61bc382f92ce8665e8b14794a92468f9446c89c/gottlieb-paardenkooper_hiap-os-autumn-2022_15.jpg" data-mid="168494934" border="0" src="https://freight.cargo.site/w/1000/i/599c71a4406db37420c6fd69a61bc382f92ce8665e8b14794a92468f9446c89c/gottlieb-paardenkooper_hiap-os-autumn-2022_15.jpg" /> <img width="3072" height="2048" width_o="3072" height_o="2048" data-src="https://freight.cargo.site/t/original/i/e60795d1bb5c854451e4114d17de9abdf1a2e392a15674d586bf30ae85724b5f/gottlieb-paardenkooper_hiap-os-autumn-2022_31.jpg" data-mid="168494931" border="0" src="https://freight.cargo.site/w/1000/i/e60795d1bb5c854451e4114d17de9abdf1a2e392a15674d586bf30ae85724b5f/gottlieb-paardenkooper_hiap-os-autumn-2022_31.jpg" /> <img width="3072" height="2048" width_o="3072" height_o="2048" data-src="https://freight.cargo.site/t/original/i/ccd006159bd438eb5d06925bfde811b6ec4d126e7ba74ee76f3130390b048f76/gottlieb-paardenkooper_hiap-os-autumn-2022_28.jpg" data-mid="168494930" border="0" src="https://freight.cargo.site/w/1000/i/ccd006159bd438eb5d06925bfde811b6ec4d126e7ba74ee76f3130390b048f76/gottlieb-paardenkooper_hiap-os-autumn-2022_28.jpg" /> At HIAP Open Studios 18-19 November, 2022 Images by: Ellis Hannikainen and Mourning School Start slow, feel the softness of your breath. Experiment with the sound of a syllable, move into a word, lean into a sentence, do you feel the vibrations in your gut, hear the echoes of your voice? leijuvat ∿ liehuvat ∿ liitelevät&nbsp; &nbsp; //&nbsp; &nbsp; whine ∿ wail ∿ whimper &nbsp; is an open invitation to experiment with the voice as a generative instrument for healing and grieving. During the open studios we share part of our research into voice activation and grief through a work in progress that brings together a soundscape by artist Jonas Holmer, a lyric inspired by Ingrian runo-songs written by musician Emmi Kuittinen, and a moaning instruction by artist Raoni Muzho Saleh. Starting from conversations with practitioners of the ancient lamenting tradition in Karelia, our research during the residency at HIAP brought us to an inquiry into the relationships between our voices and grief; how does grief sit inside our bodies, and how can we unlock it as we unlock our voices? In this installation we share the potential of the voice as a generative instrument for healing, transcending, and grieving. An essay and mixtape inspired by our research at HIAP have been published in the LINGERING, a broadsheet by Blackwood Gallery. The text and mixtape can be accessed here.&nbsp; ꕤ ꕤ ꕤ Colophonleijuvat ∿ liehuvat ∿ liitelevät&nbsp; &nbsp; //&nbsp; &nbsp; whine ∿ wail ∿ whimper consists of newly commissioned lyric by Emmi Kuittinen, a work by Raoni Muzho Saleh and a newly commissioned sound piece by Jonas Holmer.&nbsp; We would like to thank the team and other residents at HIAP for their endless support and the joyous times we shared together.&nbsp; The installation is made possible with support from HIAP and Kulturrådet, and the residency was made possible by HIAP and with support from the Helge Ax:son Johnsons Stiftelse. &nbsp;︎ https://mourningschool.com/Re-Re-Re-Re Wed, 04 Aug 2021 11:39:58 +0000 Mourning School https://mourningschool.com/Re-Re-Re-Re Re: Re: Re: Re:Clementine Edwards and Ada M. Patterson <img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/d60c018c0dcfc972ad511ee7e62019d29595e57a1989b64b489fc52728350525/IMG_6637.jpg" data-mid="115462946" border="0" alt="Clementine Edwards &amp; Ada M. Patterson, Re: Re: Re: Re: (installation views), Galleri Nef, 2021. Photos: Mourning School" data-caption="Clementine Edwards &amp; Ada M. Patterson, Re: Re: Re: Re: (installation views), Galleri Nef, 2021. Photos: Mourning School" src="https://freight.cargo.site/w/1000/i/d60c018c0dcfc972ad511ee7e62019d29595e57a1989b64b489fc52728350525/IMG_6637.jpg" /> <img width="5915" height="3943" width_o="5915" height_o="3943" data-src="https://freight.cargo.site/t/original/i/6ac4e19f6743851929e0c403b11e853bb246946ef219bc68e6c06532ab393063/IMG_6706.jpg" data-mid="115462982" border="0" alt="Clementine Edwards &amp; Ada M. Patterson, Re: Re: Re: Re:, exhibition view, 2021, Galleri Nef. Photo: Mourning School" data-caption="Clementine Edwards &amp; Ada M. Patterson, Re: Re: Re: Re:, exhibition view, 2021, Galleri Nef. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/6ac4e19f6743851929e0c403b11e853bb246946ef219bc68e6c06532ab393063/IMG_6706.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/891e5574359e02139673bc7dc6940ec539831b7c8c6d8c5cf3a76433f00952cf/IMG_6953.jpg" data-mid="115462852" border="0" alt="Clementine Edwards, Film 4, video, 2021, Re: Re: Re: Re:, Galleri Nef. Photo: Mourning School " data-caption="Clementine Edwards, Film 4, video, 2021, Re: Re: Re: Re:, Galleri Nef. Photo: Mourning School " src="https://freight.cargo.site/w/1000/i/891e5574359e02139673bc7dc6940ec539831b7c8c6d8c5cf3a76433f00952cf/IMG_6953.jpg" /> <img width="5891" height="3927" width_o="5891" height_o="3927" data-src="https://freight.cargo.site/t/original/i/284d9f8c98d93dab471e9546491b58de0a236e9eac656da31509c3062764b06d/IMG_6880.jpg" data-mid="115462984" border="0" alt="Clementine Edwards &amp; Ada M. Patterson, Re: Re: Re: Re:, exhibition view, 2021, Galleri Nef. Photo: Mourning School" data-caption="Clementine Edwards &amp; Ada M. Patterson, Re: Re: Re: Re:, exhibition view, 2021, Galleri Nef. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/284d9f8c98d93dab471e9546491b58de0a236e9eac656da31509c3062764b06d/IMG_6880.jpg" /> <img width="5842" height="3895" width_o="5842" height_o="3895" data-src="https://freight.cargo.site/t/original/i/a5f683c3031ac12532d5e0784c042927be6d36290669874d1645009f1ad4d390/IMG_6551.jpg" data-mid="115462850" border="0" alt="Clementine Edwards, Film 3, video (detail), 2021, Re: Re: Re: Re:, Galleri Nef. Photo: Mourning School " data-caption="Clementine Edwards, Film 3, video (detail), 2021, Re: Re: Re: Re:, Galleri Nef. Photo: Mourning School " src="https://freight.cargo.site/w/1000/i/a5f683c3031ac12532d5e0784c042927be6d36290669874d1645009f1ad4d390/IMG_6551.jpg" /> <img width="5816" height="3877" width_o="5816" height_o="3877" data-src="https://freight.cargo.site/t/original/i/0ccc2335e9d260d8dda2921b6f437b9df98a0395fe926dc4f6e3dd2c2762f035/IMG_6810.jpg" data-mid="115462895" border="0" alt="Clementine Edwards, Film 2, video, 2021, Re: Re: Re: Re:, Galleri Nef. Photo: Mourning School " data-caption="Clementine Edwards, Film 2, video, 2021, Re: Re: Re: Re:, Galleri Nef. Photo: Mourning School " src="https://freight.cargo.site/w/1000/i/0ccc2335e9d260d8dda2921b6f437b9df98a0395fe926dc4f6e3dd2c2762f035/IMG_6810.jpg" /> <img width="5660" height="3938" width_o="5660" height_o="3938" data-src="https://freight.cargo.site/t/original/i/a8d08d9d5c54a12eb2c9f779ed09158f2c8676847a148e6d0587ddd1c2cd2b7e/IMG_6454.jpg" data-mid="115462845" border="0" alt="Ada M. Patterson, Film 1, video, 2021, Re: Re: Re: Re:, Galleri Nef. Photo: Mourning School " data-caption="Ada M. Patterson, Film 1, video, 2021, Re: Re: Re: Re:, Galleri Nef. Photo: Mourning School " src="https://freight.cargo.site/w/1000/i/a8d08d9d5c54a12eb2c9f779ed09158f2c8676847a148e6d0587ddd1c2cd2b7e/IMG_6454.jpg" /> <img width="5891" height="3927" width_o="5891" height_o="3927" data-src="https://freight.cargo.site/t/original/i/284d9f8c98d93dab471e9546491b58de0a236e9eac656da31509c3062764b06d/IMG_6880.jpg" data-mid="115462984" border="0" alt="Clementine Edwards &amp; Ada M. Patterson, Re: Re: Re: Re:, exhibition view, 2021, Galleri Nef. Photo: Mourning School" data-caption="Clementine Edwards &amp; Ada M. Patterson, Re: Re: Re: Re:, exhibition view, 2021, Galleri Nef. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/284d9f8c98d93dab471e9546491b58de0a236e9eac656da31509c3062764b06d/IMG_6880.jpg" /> <img width="6000" height="3893" width_o="6000" height_o="3893" data-src="https://freight.cargo.site/t/original/i/4fe52cc8018be4e681275f4adc566c4a86ba9ea727b805fb00b60d0b42bfc13a/IMG_6964.jpg" data-mid="115462853" border="0" alt="Clementine Edwards, Film 3, video, 2021, Re: Re: Re: Re:, Galleri Nef. Photo: Mourning School " data-caption="Clementine Edwards, Film 3, video, 2021, Re: Re: Re: Re:, Galleri Nef. Photo: Mourning School " src="https://freight.cargo.site/w/1000/i/4fe52cc8018be4e681275f4adc566c4a86ba9ea727b805fb00b60d0b42bfc13a/IMG_6964.jpg" /> <img width="5820" height="3812" width_o="5820" height_o="3812" data-src="https://freight.cargo.site/t/original/i/38916f72ae71bab9a937dee8521764f8f8a9b664c4204c1e8e0cf63c0295a6fb/IMG_6925.jpg" data-mid="115462836" border="0" alt="Ada M. Patterson, Film 2, video, 2021, Re: Re: Re: Re:, Galleri Nef. Photo: Mourning School " data-caption="Ada M. Patterson, Film 2, video, 2021, Re: Re: Re: Re:, Galleri Nef. Photo: Mourning School " src="https://freight.cargo.site/w/1000/i/38916f72ae71bab9a937dee8521764f8f8a9b664c4204c1e8e0cf63c0295a6fb/IMG_6925.jpg" /> <img width="5722" height="3815" width_o="5722" height_o="3815" data-src="https://freight.cargo.site/t/original/i/10ea57d568e5636ac55de2441ace9ea2f19a89b3197bc1492618cd84925fe4db/IMG_6677.jpg" data-mid="115462985" border="0" alt="Clementine Edwards &amp; Ada M. Patterson, Re: Re: Re: Re:, exhibition view, 2021, Galleri Nef. Photo: Mourning School" data-caption="Clementine Edwards &amp; Ada M. Patterson, Re: Re: Re: Re:, exhibition view, 2021, Galleri Nef. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/10ea57d568e5636ac55de2441ace9ea2f19a89b3197bc1492618cd84925fe4db/IMG_6677.jpg" /> <img width="5772" height="3805" width_o="5772" height_o="3805" data-src="https://freight.cargo.site/t/original/i/c8217de3a8fbdbc98db27d237719dbb332a456621d234fbde9bd277f6960f182/IMG_6712.jpg" data-mid="115462846" border="0" alt="Clementine Edwards &amp; Ada M. Patterson, Re: Re: Re: Re:, exhibition view, 2021, Galleri Nef. Photo: Mourning School" data-caption="Clementine Edwards &amp; Ada M. Patterson, Re: Re: Re: Re:, exhibition view, 2021, Galleri Nef. Photo: Mourning School" src="https://freight.cargo.site/w/1000/i/c8217de3a8fbdbc98db27d237719dbb332a456621d234fbde9bd277f6960f182/IMG_6712.jpg" /> At Galleri Nef 18-23 June, 2021 Go further Visual description tour Re: Re: Re: Re: From: Clementine Edwards To: Ada M. Patterson The path you tread between the grey gums and the platanus is sometimes dry and sometimes soggy, always jumbled. Of course you’re in this universe, but you must stay awake to how it rocks you backwards and forwards, backwards and forwards. You must tip-toe along its gravel and gumnut path, being careful to go slower with it than your grabbing instinct demands. Mourning School warmly welcomes you to Re: Re: Re: Re: an exhibition of new work by artists Clementine Edwards and Ada M. Patterson presented at Galleri Nef. Re: Re: Re: Re: is a series of gentle missives, videos as call and response, between Ada M. Patterson from Barbados and Clementine Edwards from Naarm and then Rotterdam. In the correspondence, they speak to their shared experiences of life back home as potentially untenable, and the ways it provokes a complicated grief rooted in trans-ness, administration, climate, and the (dis)possession of land and body. Re: Re: Re: Re: makes space for a textured and emotional confrontation between their bodies and the world, riddled with desire for, and attempts at anchoring themselves in their surroundings, histories and land, yet failing to, or resisting these impulses at the same time. With Re: Re: Re: Re: Patterson and Edwards attempt to make visible, legible and palpable the lived effects of grief. They ask, How might we trace the passage of grief from something that takes up space within our bodies towards something that makes space for our bodies and other bodies to inhabit? Re: Re: Re: Re: From: Ada M. Patterson To: Clementine Edwards Sargassum: a brown that collects or traps. I’m afraid of how slow it moves or how much it could slow me. Trying to salvage brown sargassum from a trap, to a complicated accumulating of life and death; a grief that gathers, a body that gathers, a brownness that gathers. Re: Re: Re: Re: is a work in a constant state of unfolding. New thoughts and images are making their way into the artists’ correspondence that respond to events and feelings happening in real time. This generates a conversational rhythm as a methodology and a continuation of a friendship. Creating synergy between their respective practices, Edwards and Patterson step into each other’s pace and working process on a material level; borrowing editing techniques, frames and phrases. To a visitor, it feels as if you have entered into the middle of an ongoing conversation, the details of which may not be clear. This indeterminacy opens up a space of profound, queered possibility that disrupts existing dynamics between public and private, universal and personal, familiar and unknown. It is a space where we can recognise and honour, remember and grieve the lives, deaths and suffering of those otherwise deemed ungrievable within the context of the worlds we live in. About the artists&nbsp;Clementine Edwards &amp; Ada M. Patterson have been sharing conversations and collaborations on subjects such as climate crisis, plastic-as-toxic-muse, queer grief, and Blackness and whiteness since they met in 2019.Clementine Edwards is a Rotterdam- and Naarm/Melbourne-based artist who works across sculpture, film, performance, writing and jewellery. Her ongoing research line is material kinship, which she locates in the context of climate colonialism. In 2021 Clementine publishes The Material Kinship Reader, co-edited by Kris Dittel. Ada M. Patterson (Bridgetown, 1994) is a visual artist and writer working with masquerade, textiles, performance, video and poetry, telling stories and imagining elegies for ungrievable bodies and moments. Patterson is the 2020 NLS Kingston Curatorial &amp; Art Writing Fellow. Upcoming exhibitions include "Art from Britain and the Caribbean" at Tate Britain, London. ColophonRe: Re: Re: Re: is made possible with the support of our host institution Galleri Nef, with technical support of co-founder and artist Tomas Sjögren. Film transcripts written by Clementine Edwards and Ada M. Patterson and translated by David Sriwanat with editorial support from Rupert Edwards. The exhibition received financial support from Kulturradet and the Nordic Cultural Foundation through the Globus Opstart Grant. Re: Re: Re: Re: will be further developed by the artists at Live Works vol. 9 in 2022.We would like to thank our upstairs neighbor Kattis for lending us tools and reminding us to take ice-cream breaks, as well as her daughter Esme for working on our exhibition sign with us. Neighborhood cat Pepsi, thank you for your moral support. ︎ https://mourningschool.com/Projects-Activites Mon, 02 Aug 2021 13:28:26 +0000 Mourning School https://mourningschool.com/Projects-Activites whine ∿ wail ∿ whimperAn interactive installation conceived by Mourning School with works by Raoni Muzho Saleh, Emmi Kuittinen, and a soundscape by Jonas Holmer. Presented parallel to Lisen Ellards Dirgy Dancing in the context of Dansens Dag at Fullersta Gård&nbsp;27 April - 5 May 2024 SorgebibliotekPresented in the context of Lisen Ellards exhibition Dirgy Dancing at Art Lab Gnesta13 April - 27 May 2024 Nostalgia All the Time An evening of togetherness, shared tears and laughter, co-curated with&nbsp;Rossana Mercado-Rojas and Angélica Chávez Cáceres from Ritual Domestiko9 February 2023 Start slow, feel the vibrations in your gut An essay and mixtape by Mourning School for Blackwood Gallery’s broadsheet LINGERING. Published January 2023 leijuvat ∿ liehuvat ∿ liitelevät // whine ∿ wail ∿ whimper An interactive installation conceived by Mourning School with works by Raoni Muzho Saleh, Emmi Kuittinen, and a soundscape by Jonas Holmer.18&nbsp; - 19 November 2022 Sometimes TimeA film program developed by Mourning School with contributions by&nbsp;Alexander Rynéus, Angela Bravo, Ayla Dmyterko, G, Julia Heijligers, Karin Keisu &amp; Josse Thuresson, Lise Fischer, Louis Hothothot, Martin Smatana, Mathilde ter Heijne, Natalia Papeava, and Natasha Tontey.7 June - 19 June 2022 HALF FULL BABES MIX&nbsp;Mixtape for the newspaper Vård och Värde &amp; With tired backs, and hearts with room for more19 February - 24 April 2022 Day With(out) Art: ENDURING CAREOnline screening with&nbsp;newly commissioned work by Katherine Cheairs, Cristóbal Guerra, Danny Kilbride, Abdul-Aliy A. Muhammad and Uriah Bussey, Beto Pérez, Steed Taylor, and J Triangular and the Women’s Video Support Project.1 December 2021, 14:00-00:00 CEST Don’t You (forget about me)Three mixtapes presented at Mañana Bold for the exhibition AvaTourismus11-21 November 2021 Could I wear your loss on my sleeve? Workshop at TENT Rotterdam5 November 2021, 18:30 Thea - on eulogies pt. II&nbsp;A lecture performance at TENT Rotterdam21 October 2021, 19:00 Thea - on eulogies pt. IA lecture performance at SUPERMARKET Art Fair, Stockholm17 October 2021, 16:15 Dear, don’t forget to bring a carton of milk on your way home x letters by MYCKET, Pamela Sneed, G, Manuel Solano &amp; Every Ocean Hughes&nbsp;developed in collaboration with Dear,October 2021 - February 2022 Morte liiiiiiiiifffeeee, still naaaattuuuree Garance Wullschleger and Anna Reutinger Galleri Nef, Bagarmossen 19-29 August 2021 Re: Re: Re: Re: Clementine Edwards &amp; Ada M. PattersonGalleri Nef, Bagarmossen 18-23 June 2021 SPIKED by a sea urchin? - Mixtape Mourning School for My Friend is Here Konsthal C, Hokarängen 12 June 2021 A Permanent Draft&nbsp;A lecture&nbsp;on&nbsp;Mourning School for Nordiska Konstförbundet Online10 February 2021Residency Mourning School at Nordiska KonstförbundetMalongen, StockholmJanuary 2021 <img width="442" height="656" width_o="442" height_o="656" data-src="https://freight.cargo.site/t/original/i/2ed7ede5fa5116ebd165210f95640549eebb99c7c50a7dd58d9408274e1b6e89/Sticker_Swan_WWW.jpg" data-mid="115371283" border="0" src="https://freight.cargo.site/w/442/i/2ed7ede5fa5116ebd165210f95640549eebb99c7c50a7dd58d9408274e1b6e89/Sticker_Swan_WWW.jpg" /> <img width="262" height="290" width_o="262" height_o="290" data-src="https://freight.cargo.site/t/original/i/5dddeb6c4279bb7ab68804e750af9cb35838f3a810ef92136ea9dd2b396a3eca/Orange_sticker_www.png" data-mid="115455446" border="0" data-scale="100" src="https://freight.cargo.site/w/262/i/5dddeb6c4279bb7ab68804e750af9cb35838f3a810ef92136ea9dd2b396a3eca/Orange_sticker_www.png" />