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Tensta Museum - Reports from New Sweden

Sternberg Press 2020 ISBN 9783956794506 Acqn 30802
Pb 25x30cm 300pp col ills £18.95

Contributions by Ricardo-Osvaldo Alvarado, Action Archive, Spanga Local Heritage Association,

the Kurdish Association, Tarek Atoui, Babi Badalov, Petra Bauer, Beatrice von Bismarck, Boris
Buden, the Tensta Hjulsta Women's Center, Emily Fahlen, Mark Fisher, Dominique Gonzalez-
Foerster, Lawrence Abu Hamdan, Carl Larsson, Tensta Library, Meron Mangasha, Irene Molina,
Emily Pethick, Erik Stenberg, Mekonen Tekeste, Adam Tensta, Ahmet Ogut

This publication documents and discusses Tensta konsthall's experimental multi-year project
"Tensta Museum: Reports from New Sweden" that ran from 2013-18 in Tensta and beyond. By
pretending to be a museum, the project created a richly contrasting patchwork stretching over six
years, in which manifold interests and expressions together formed a narrative with tensions and
conflicts erupting around questions like "what history and heritage?," "to whom do they belong?"
and "what about the present?" The Stockholm suburb of 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 background. More than fifty artists,
architects, local associations, performers, sociologists, cultural geographers, philosophers, and
other practitioners contributed artworks, research projects, seminars, guided walks, workshops
and much more, reporting on the past and present of Tensta. In this way, 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.

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Oceanography
Sternberg Press 2020 ISBN 9783956795411 Acqn 30280
Pb 15x23cm 150pp ills £13.95

Contributions by Penny Chisholm, Robert Danovano, Cindy van Dover, Sabine Hohler, Jessica
Lehman, Naomi Oreskes, Helen Rozwadoski, Philip Steinberg. Series editors: Armen
Avanessian, Werner Boschmann, Grigory Cheredov, Karen Sarkisov.

In recent years, a new field of scientific research has emerged called microbial oceanography,
which is concerned with the biology and ecology of the microorganisms that live in the sea.
Oceanography combines techniques of molecular biology, gene sequencing, bioinformatics, and
remote sensing, among others. Oceans are a crucial in regulating the planet's climate-a
necessary condition to ensure human survival on earth. Findings of oceanography can help
people living in the Anthropocene to better understand life (and survival). Not only are all life-
forms of marine origin, but the oceans also host extremophiles: microbial life-forms that live under
extreme conditions of heat, cold, and lack of light, and are integral in understanding how to adapt
and survive. To reverse anthropogenic forces, such as overfishing, pollution, deep-sea mining,
and acidification, we need to shift our vision of the ocean so that it can heal and continue to play
the major role on which all of life depends.

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Frida Orupabo
Sternberg Press 2021 ISBN 9783956796234 Acqn 31786
Hb 19x28cm 152pp col ills £22.50

Frida Orupabo's first monograph is published on the occasion of her exhibition at Kunsthall
Trondheim. The book contains extensive documentation of her work, including social-media
imagery the artist has been producing over the past several years, which forms an integral part of
her artistic oeuvre. Essays by Stefanie Hessler, Lola Olufemi, and Legacy Russell provide
insights into the relation of the artist's practice to Black visual culture, the archive, and digital life.

In her work, Orupabo explores questions of race, family and heritage, gender, sexuality, violence,
and identity, while considering the necessity of visibility for political subjecthood. In her research
process, Orupabo mines archives with a colonial history, revisiting images that were created
through a racialized lens as well as on digital platforms such as Instagram and YouTube. She
creates collages from found material, both digital and physical, and videos that are shown in
exhibition spaces and distributed on the same online platforms from which she obtains material.
The resulting works take the shape of fragmented Black, mostly female-bodied, figures, offering
offers various readings of the stories and lives of the people depicted, many of whom are hardly
mentioned in the archives. Through relieving the images of their previous context, Orupabo urges
viewers to look at them anew. This look can be unsettling-it is met by a countergaze that negates
any monolithic categorization of those being depicted. By bridging historical archives and today's
digital platforms, Orupabo foregrounds the social and political structures that determine how we
see images, and how these structures organize our thinking. In doing so, her work proposes
urgently needed alternatives of seeing otherwise.

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(How) do we (want to) work (together) (as (socially engaged) designers (students and
neighbors)) (in neoliberal times)?
Sternberg Press 2021 ISBN 9783956796043 Acqn 31845
Pb 15x21cm 528pp col ills £16.50

A critical discussion about work is urgently needed—in the field of design as much as anywhere
else. Since 2011, Studio Experimentelles Design at the HFBK Hamburg has experimented with
local design-assistance projects carried out within the framework of the St. Pauli Public Design
Support initiative. The student-led program advocates a community based and cooperative
approach, involving people who are usually only impacted by design or excluded from it. This
partisan practice questions our understanding of what design can be, and who benefits or suffers
from it. It also fundamentally questions how we work.

Divided into two parts, this publication extends Studio Experimentelles Design’s socially
committed approach through conversations, lectures, research, debates, and project
documentation, drawing on the research festival as well as five years of work by Public Design
Support. Both of these—an international debate on working conditions and a local design practice
committed to its community—strive to critically examine design’s current practices. They ask
questions of how designers work today, demanding a fundamental reorientation in the issues
design addresses and the social actors it serves.

Contributions by Arts of the Working Class, Claudia Banz, Lisa Baumgarten, Steff Bentrup, Brave
New Alps, Colin Crouch, Hans-Christian Dany, Designer + Cultural, Workers Union, Design
Interns Club, Diedrich Diederichsen, Emma Dowling, Experimentelle Klasse, Silvia Federici, Silke
Helfrich, IG Bildende Kunst, In the Meantime, Valentina Karga, Lucy Kimbell & Guy Julier, Silvio
Lorusso, Madygraf, Angela McRobbie, Oli Mould, Nobody is an Island, Onomatopee (Amy
Gowen & Joannette van der Veer), Mareile Pfannebecker & James A. Smith, Poliklinik Veddel,
Florian A. Schmidt & Sebastian Schmieg, Stavros Stavrides, Studiengruppe Informationsdesign,
Rosario Talevi, Pelin Tan, Vivien Tauchmann, Harald Trapp, Airi Triisberg, Velvetyne, Viome,
Felix Vogel, Manuela Zechner.

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Amazonia - Anthology as Cosmology

Sternberg Press 2021 ISBN 9783956796111 Acqn 31846
Pb 21x26cm 352pp col ills £21.50

Amazonia: Anthology as Cosmology is devoted to Amazonia, its peoples, allies, and nonhuman
spirits, and their myriad material and immaterial practices, from certain cosmopolitics and visual
languages to past and present forms of resistance. In all their various lines (and circles) of
ecological and epistemological thought, the artists, elders, writers, theorists, shamans, curators,
poets, and activists whose ideas, images, and struggles compose this book, are concerned with
Amazonia as both a place and a point of view. Through the weaving of voices, myths, ancestors,
and territories, and all their radical subjectivities, we understand language in this anthology in an
extended sense: as testimony, textile, painting, river, forest, animal, ancestor, song, spirit, and
sacred medicine. Amazonia: Anthology as Cosmology inquires into decolonial feminisms and
Indigenous temporalities, externalized memory and erasure, sacred plants in the shadow of
pandemic corporate-state extractivism and systemic violence, the activist possibilities of the
mythic imagination, and the common visual matrices of the Amazonian universe. The book also
weighs the Western imaginary of the Amazon, both its colonial roots in racial capitalism and its
corporate, technological, paternalistic present. Centered, however, is Amazonia itself, in all its
many and numinous worlds and languages-visual, oral, botanical, ancestral, cosmological-by
which it becomes narrated, passed on, and then narrated again.

With contributions by Maria Thereza Alves and the Association of the Movement of Indigenous
Agroforestry Agents of Acre (AMAAIAC), Claudia Andujar, Denilson Baniwa, Christian Bendayan,
Chonon Bensho, Rita Carelli, Enrique Casanto, Felipe Castelblanco, Carolina Caycedo, Taita
Hernando Chindoy, Smith Churay, Victor Churay, Tiffany Higgins, Marcia Wayna Kambeba,
knowbotiq, Davi Kopenawa and Bruce Albert, Ailton Krenak, Gredna Landolt, Nereyda Lopez,
Renata Machado Tupinamba, Mauricio Meirelles, Gerardo Petsain, Anibal Quijano, Maya Quilolo,
Djamila Ribeiro, Abel Rodriguez (Mogaje Guihu), Pamela Rosenkranz, Maria Belen Saez de
Ibarra, Proyecto Cuenco de Cera (Barbara Santos, Reynel Ortega, and Stephen Hugh-Jones),
Shoyan Sheca (Roldan Pinedo), Paulo Tavares, Daiara Tukano, Eduardo Viveiros de Castro,
Santiago Yahuarcani, and others...

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