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 (Kwakwaka’wakw, Musgamakw Dzawada’enuxw First Nations, b. 1969) is an artist and activist of the Musgamakw Dzawada’enuxw Nations who are part of the Kwakwaka’wakw (Kwak’wala speaking peoples) of the Northwest Coast. She is trained in both traditional Kwakwaka’wakw forms and culture and contemporary gallery and museum-based practice. Her practice is multi-disciplinary, encompassing photography, painting, carving, video, installation, monumental public art, writing and speaking. She works as a Kwakwaka’wakw cultural researcher and historian, as well as an advocate for Indigenous land rights. She holds a BFA from the Emily Carr University of Art and Design (1996), an MFA (2000), MA in Linguistics and Anthropology (2005) and PhD in Linguistics and Anthropology with a focus on space as expressed in the Kwak’wala language (2013) all from the University of Victoria. Solo exhibitions include the Art Gallery of Greater Victoria (2008); Artspeak, Vancouver (2006); Esquimalt Municipal Hall (2004); Thunder Bay Art Gallery (2002); National Indian Art Centre, Hull (2001); Campbell River Public Art Gallery (2000) and Or Gallery, Vancouver (1992). Group exhibitions include the 17^th Biennale of Sydney (2020); the Morris and Helen Belkin Art Gallery, Vancouver (2020); the Vancouver Art Gallery (2019-20); the National Gallery of Canada, Ottawa (2018-19) and the National Museum of the American Indian, New York (2017-19), among others. Major monumental public artworks are situated in her home territory of the Musgamakw Dzawada’enuxw First Nation, Vancouver International Airport, the Canadian Embassy in Amman, Jordan and the Canadian Embassy in Paris, France.

Following Nicolson’s Hexsa’am: To Be Here Always, a 2019 project with the Belkin that functioned as research, material, media, testimony and ceremony to challenge the western concept that the power of art as limited to the symbolic, This Is An Emergency Broadcast (2023) is another moment to amplify Indigenous tradition.

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).

Shelly Rosenblum is Curator of Academic Programs at the Belkin. Inaugurating this position at the Belkin, Rosenblum’s role is to develop programs that increase myriad forms of civic and academic engagement at UBC, the wider Vancouver community and beyond. Rosenblum received her PhD at Brown University and has taught at Brown, Wesleyan and UBC. Her awards include fellowships from the Center for the Humanities, Wesleyan University and a multi-year Presidential Postdoctoral Research Fellowship, Department of English, UBC. She was selected for the Summer Leadership Institute of the Association of Academic Museums and Galleries at the Kellogg School of Management, Northwestern University (2014). Her research interests include issues in contemporary art and museum theory, discourses of the Black Atlantic, critical theory, narrative and performativity. Her teaching covers the 17th to the 21st centuries. She remains active in professional associations related to academic museums and cultural studies, attending international conferences and workshops, and recently completing two terms (six years) on the Board of Directors at the Western Front, Vancouver, including serving as Board President. At UBC, Rosenblum is an Affiliate of the Peter Wall Institute for Advanced Studies.