Speculation in Art and Finance Symposium gathers artists Goldin+Senneby and Marianne Nicolson along with geographer Geoff Mann in preparation for our upcoming exhibitions To refuse/To wait/To sleep and M&A. Opening at the Belkin in January 2017, these projects will bring together artists investigating belief and prediction in economic models, precarious labour, illicit and marginalized markets and other concerns. In advance of the exhibitions, this symposium brings together artists and scholars to explore the exhibit themes through an interdisciplinary lens. Artists-in-residence Simon Goldin and Jakob Senneby – whose work explores juridical, financial and spatial constructs through notions of the performative and the virtual – are visiting the Belkin in advance of the project. They will be joined by Geoff Mann, author of Disassembly Required: A Field Guide to Actually Existing Capitalism and artist Marianne Nicolson, whose current research looks at an early experiment with capitalism on the part of the Kwakwaka’wakw people of the Northwest Coast in collaboration with “Boston men” (Americans) for markets in China. The symposium will be moderated by Jaleh Mansoor, UBC Department of Art History, Visual Art and Theory.
We gratefully acknowledge the support of the UBC Peter Wall Institute for Advanced Studies whose Arts-Based Initiative Award funded the residency of Goldin+Senneby. To refuse/To wait/To sleep and M&A are made possible with the generous support of the Canada Council for the Arts, the British Columbia Arts Council and our Belkin Curator’s Forum members.
About the participants:
Goldin+Senneby is the framework for collaboration between Swedish artists Simon Goldin and Jakob Senneby. Since 2004, Goldin+Senneby have initiated projects that explore juridical, financial and spatial constructs through notions of the performative and the virtual. Through actions and theoretical pursuits, they interrogate the mythologies created by virtual economies and fictional personae. In their recent body of work, Headless (2007-), they approach the sphere of offshore finance and its production of virtual space through legal code. Since 2010 their work has focused on The Nordenskiöld Model, an experiment in theatrical finance, in which they attempt to reenact the anarcho-alchemical scheme of eighteenth-century alchemist August Nordenskiöld on the financial markets of today. Goldin+Senneby’s current project, M&A (Mergers and Acquisitions), uses the exhibition infrastructure as laboratory for developing algorithmic trading models. Mirroring the design of the algorithm intended to detect activity in the stock market that indicates early stages of possible mergers and acquisitions, Goldin+Senneby combine the speculative nature of both theatre and finance and the precarious labour conditions that characterize late capitalism. Jakob Senneby and Simon Goldin received MFA degrees from Stockholm’s Royal University College of Fine Arts in 2004 and 2007, respectively. In parallel with his artistic work, Goldin has studied management at the Stockholm School of Economics. Recent solo exhibitions include Tensta Konsthall, Stockholm (2013), Artspace NZ, Auckland (2013), NAK, Aachen (2012), Kadist, Paris (2010) and The Power Plant, Toronto (2008). Group exhibitions include Tate Liverpool (2013), 13th Istanbul Biennial (2013) and Witte de With, Rotterdam (2011). Residencies include: Headlands, San Francisco (2012); SALT, Istanbul (2012); Kadist, Paris (2010); Gasworks, London (2008); IASPIS, Stockholm (2007).
Geoff Mann teaches political economy and economic geography at Simon Fraser University, where he directs the Centre for Global Political Economy. His research concerns the political economy of capitalism and focuses on the ways in which macroeconomic governance in liberal democracy is affected by economic and ecological crisis. His book Our Daily Bread: Wages, Workers and the Political Economy of the American West (UNC, 2007) won the Paul Sweezy Prize from the American Sociological Association and the Michael S. Harrington Award from the American Political Science Association, and his writing on capitalism has appeared in New Left Review and Historical Materialism, among other journals. In the Long Run We are All Dead: Keynesianism, Political Economy & Revolution will be published by Verso in January 2017.
Marianne Nicolson (‘Tayagila’ogwa) is an artist of Scottish and Dzawada̱’enux̱w First Nations descent. The Dzwada̱’enux̱w People are a member tribe of the Kwakwa̱ka̱’wakw Nations of the Pacific Northwest Coast. Working in a variety of media, her artistic practice engages with issues of Aboriginal histories and politics arising from a passionate involvement in cultural revitalization and sustainability. Nicolson’s artworks are contemporary expressions of traditional Kwakwaka’wakw concepts; she first came to prominence in 1998 when she scaled a vertical rock face in Kingcome Inlet to paint a 28 × 38-foot pictograph—the first in the inlet in more than sixty years—to mark the continued vitality of her ancestral village of Gwa’yi. Nicolson’s training encompasses both traditional Kwakwa̱ka̱’wakw forms and culture and Western European based art practice. She has completed a Bachelor of Fine Arts from Emily Carr University of Art and Design (1996), a Masters in Fine Arts (1999), a Masters in Linguistics and Anthropology (2005) and a PhD in Linguistics, Anthropology and Art History (2013) at the University of Victoria. Nicolson has exhibited locally, nationally and internationally as a painter, photographer and installation artist at venues including the Art Gallery of Greater Victoria, Artspeak, the National Gallery of Canada and Taipei Fine Arts Museum. She has written and published numerous essays and articles, and has participated in multiple speaking engagements.
For further information please contact: Jana Tyner at firstname.lastname@example.org,
tel: (604) 822-1389, or fax: (604) 822-6689