Frida Sandström is a writer and critic based in Copenhagen. She is a contributing editor at Paletten Art Journal, and a PhD fellow in Modern Culture at the Department for Arts and Cultural Studies at the University of Copenhagen. Her writing is published in Swedish and international newspapers, journals, anthologies and publications, and as a guest teacher and lecturer in Contemporary Art and Dance Theory, Sandström has visited art academies and art schools across Sweden. She has curated cross-disciplinary and discursive programmes for Moderna Museet (2018), Nya Småland (2018) and Public Art Agency Sweden (2019), and through 2019-20 she ran the online residency program and editorial platform Liquid Fiction. In collaboration, Sandström has worked together with Kasia Wolinska, Cara Tolmie, Aleksei Borisionok, Norbergfestival and Anrikningsverket, amongst others.
This panel conversation was initially planned to take place in collaboration with the independent art space Mint, run by Asrin Haidari and Emily Fahlén, in Stockholm. Taking its departure in a planned, open editorial meeting at Mint, the focus of this conversation was the material relationships that art criticism both presupposes and perhaps creates, including populistic notions that criticism meets and inhabits today. By departing from Mint’s investigation of the phenomenon “workers’ art”, historically and today, the meeting will further examine if there exists a workers’ critique, and if so, how it takes shape in contemporary populistic and conservative environments. The focus of the meeting departs from notions such as aesthetic autonomy, labor, and the editorial self-organisation’s history and contemporaneity.
The panel took place online, on 19 April 2020. The panel contributors were, in order of appearance: Michele Masucci, Ana Teixeira Pinto, Kim West and Santiago Mostyn. The panel was moderated by Frida Sandström.
Följande text är ett kollektivt arbete av Palettens Johannes Björk, Patrik Haggren, Hanni Kamaly, Frida Sandström & Fredrik Svensk. Texten ingår i Palettens nästa nummer 2021:1–2 #323-324 sammansatt av Sinziana Ravini.
Utifrån de avhopp och ofrivilliga uppsägningar som nu sker i konstvärlden på grund av ställningstaganden för det palestinska folkets kamp, diskuterar Palettens Frida Sandström det ständiga återskapandet av den ensamma kritikerns position. Avhoppet, menar hon, kan indikera ett tomrum som tecknar konturerna av “att vara någon annanstans, att göra något annat tillsammans”.
På vilket sätt skapar sinnena ett eget fält för vetande? På vilket sätt ska vi förstå deras roll som förmedlare mellan människa och värld, kropp och medvetande, idéer och konst? Välkomna till ett releaseseminarium för Asthesis: Estetikens historia del 2. Paletten bjuder på ett samtal mellan redaktörerna Sven-Olov Wallenstein och Cecilia Sjöholm, och Frida Sandström (Paletten). Samtalet sker online och kräver ingen föranmälan.
Without barricades, life is flooded by what Zygmunt Bauman calls ’liquidising powers’. Revolutionaries must swim, while technologies of the reigning institutions soak the social fabric: beside the governance from behind facades, the panopticon is consumed as a commodity.
Three years have passed since Larisa Crunteanu auditioned for the Romanian soap-opera reality show Forbidden Love. With weekly releases, the show presents cases of socially unacceptable romance, crossing boundaries of age, beauty and economy.
