One Day About: A lecture and workshop on writing artistic research applications with curator and writer Natasha Marie Llorens

Photo: Maarten Nauw

Event is now full.

Lunch and coffee will be served. When enrolling, please indicate dietary restrictions.

10:00 - 12:00 Lecture
13:00 - 16:30 Workshop

8-12 participants in total will be admitted on a first-come basis.

Participants can opt to submit writing samples for Natasha and the rest of the group to review during the second half of the session.

Zatasha Marie Llorens (Ph.D. Columbia University, New York, 2021; MA Center for Curatorial Studies at Bard College, 2011) is Area Head for Text at the Royal Institute of Art/ Kungl. konsthögkolan and teaches Art Theory. For this session, Llorens will lecture on her experience of writing two successful artistic research applications, accepted by The Swedish Research Council (Vetenskapsrådet) in successive years: The centre for art and the political imaginary in 2022, and Decolonial Curatorial Methodology in 2023.

In the morning, Llorens will focus the talk on her experience of formulating a successful application, along with addressing general problems that occur, specifically for artists, in communicating a project meant to inform and influence a funding body toward a positive outcome.

The afternoon will be devoted to a workshop focusing on structural and organizational issues, using writing samples submitted by up to 6 participants as case studies (voluntary basis). Writing can consist of a working project description or a preliminary outline. Please send to Lisa Tan no later than Friday 18 October, in advance of the Friday 25 October session. Please register by emailing lisa.tan@konstfack.se.

Natasha Marie Llorens’ Swedish Research Council projects

Decolonial Curatorial Methodology (2023)
Myriam Amroun and Natasha Marie Llorens propose curatorial practice as a form of artistic research that goes beyond “metaphorizing decolonization.” The project has four principle aims: to centre the knowledge produced by the practice of curating (rather than that which it simply presents in the exhibition); to experiment with infrastructures that support “minor transnational” relationality; to experiment with institutional scale in relation to the exhibition; to work from and between two important margins of the European project—the Nordic region and North Africa—in an embodied manner that nevertheless acknowledges our distance from both. Readers can refer to this text recently which is based on the application and gives the full background from the project.

The centre for art and the political imaginary (2022)
The Centre for Art and the Political Imaginary is committed to interdisciplinary practice and research in the meeting between contemporary art and the future of politics. Based at two institutions of higher education in art: HDK-Valand and Kungl. Konsthögskolan, the Centre’s aim is to facilitate connections between research and education through an engagement with experimental approaches. It is the first Swedish Centre of Excellence in the field of Artistic Research. The activities of the Centre are organized around four conceptual strands guiding the construction of innovative educational and research frameworks. Climate Imaginaries engages with radical ecological change and environmental futures. Historical Imaginaries addresses decolonial approaches to collective memory and nationalist representations, as well as non-aligned movements and intensifying globalization. Democratic Imaginaries takes its point of departure from the polarization of the public sphere and emerging forms of illiberalism. Technological Imaginaries is focused on the interactions between art and technological developments and their resulting projections of possible futures. The Centre is co-chaired by Prof. Mick Wilson and Prof. Natasha Marie Llorens, who together with Prof. Jyoti Mistry and Dr. Axel Andersson form its steering committee.