Raumdeuter Radio couples audio artworks with public transport routes to reinterpret the social and physical space of the city.

The project will launch in Göteborg, Sweden in September 2021 with further editions planned for Glasgow, UK (April 2022), Brussels, Belgium (November 2022), Sofia, Bulgaria (2023) and Tallinn, Estonia (2023).

As well as being a cultural project Raumdeuter Radio also has a research angle which blends fields of design, urbanism, sustaniability and cultural policy making. This research focuses on the thesis: How does the pressence of a cultural offering onboard or adjacent to public transport impact service usage and perceptions of mass transit?

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Ephemeral Care is a platform dedicated to investigating ethics, practice and strategies in artist-led and self-organised initiatives.

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Godisfabriken is an artist studio based in Göteborg. Joe Rowley sits on the board and also is taking responsibility for coordinating the studios upcoming exhibition and events programme for GIBCA Extended.

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Golspie in the Scottish Highlands and Stoke-on-Trent in the very heart of England have an unlikely nad seemingly little known connection. They are the sites of two monuments, twins as it happens. These monuments depict George Granville Leveson-Gower, 1st Duke of Sutherland, a man reviled in the Highlands for his role in the Clearances between 1750 and 1860 which drastically altered the cultural, social, political and physical geography of the region with the impact still felt today. In Stoke-on-Trent, if mentioned at all, it is most often for his role in introducing turnpike roads and along with local industrialists, paving the way for the industrial revolution to overtake North Staffordshire with a similarly drastic reorganisation of life and land affected there as in Scotland.

This research project provides an investigation into the impact and legacy of George Granville Leveson-Gower on Sutherland and North Staffordshire from 1700 to the present day. Particular focus will fall on the development of the social and domestic environments in these locations from a historical, social and design perspective. The ultimate aim of Monumental Atrophy III is to make these communities aware of their linked histories and build links between the two that can hopefully lead to a better future.

Monumental Ecology relates to the life cycle of the monument. The corporeal presence of the monument, its physical existence, is but a part of this. From conception by the commissioning body, commission of an artist, erection accompanied by whatever level of ceremony through the process of standing in place for a length of time until it loses legitimacy and is removed or is forgotten and lost to the ravages of time. Even after removal, the monument can be present for many years as a spectre, an empty plinth or a patch of non-uniform cobble in a square. During the entire course its existence and as a spectre, the monument is deeply political. Accelerated Monimental Ecology looks to track this process and try and position a matrix of points in this process to better understand how the political legitimacy and animistic potential of a monument can change over time. It is hoped that this can lead to a better understanding of how to deal with the problematics monuments present in our social landscapes.

The first example, and starting point in this process, is the Statue of Swedish football star Zlatan Ibrahimovic which was unveiled in Malmö, Southern Sweden in October 2019. By February 2020 the statue had been removed by city authorities due to persistent vandalism, culminating in the monument being toppled. The drastically swift rise and fall of this monument prompted me to think about Monumental Ecology and also to add the Accelerated part. The video above marks the opening of this project and outlines the story of Zlatan-statyn and starts to speculate over some of the possible political motives attached to the monument.

Monuments form lightning rods in cities across the world, markers of colonial oppression, the glorification of military action in the name of national honour, edifices to political policy and ideologies of control. It is a desire for control that first bought about the penchant for monument building - pictorial representations of that which the populace should glorify and aspire to emulate. Of course, this is all from the perspective of the ruling power of the moment. As various leaders or politics become unseated from their pedestal these monuments are repurposed or removed. Until this time, however, they are found littering public squares, dictating space and flow as life swirls around them. Some monuments stand largely ignored while simultaneously others, at an increasing rate, are becoming the target of the protest.

Monumental Atrophy I looks at the choreography of these spaces. It maps the flow of people, vehicles and furniture as they move around various monuments. The intention of this research is not to produce something factual as such but more a set of scores, diagrams or performances relating to these varying contexts.

Bite the Invisible Hand that Feeds, Bad Timing, Göteborgs Konsthallen, 2018. (Image credit: Kjell Caminha)

Part of Sunscreen, an online project by Candice Jacobs as part of EM15, the East Midlands pavilion at the 56th Venice Biennale, 2015. Don't Take Your Eye Off The Ball features footage from the football match between England and Costa Rica at the World Cup in Brazil, 2014. The Costa Rican goalkeeper Keylor Navas was injured in the thigh leading to a lengthy stoppage in play - as with many such instances during these championships and others, these stoppages in play needed to be filled in the TV coverage prompting a range of slow-motion shots depicting situations from the match and members of the watching public in the stadium. Everything seemed to be slowed down into a strange Baywatch-esq cartoon of tropical life, tanned and seductive. This included the treatment of Navas' offended thigh muscle which "magic spray" as football commentators are want to call it. Everything about this scene was bizarre and captivating, a strange homo-erotic microcosm in a sea of hyper-masculinity. The video was available for download as a free screensaver direct from the EM15 pavilion in Venice or the Sunscreen website.

Do You Even Lift Bro?, Nottingham Trent University, 2014. (Image credit: Ben Swanson)

Asbjørn Skou, Algorithm Shudder, 2017 (image credit: Reece Straw)

The aim of H U T T has always been to support emerging artists and, in regards to the physical space which existed between 2014 and 2018 in Nottingham, UK, forward exciting new practices and artists. We have worked with artists to produce first solo-exhibitions, delivered projects that couldn't be realised anywhere else. Since the gallery's closure, we have moved to reflect on our working processes and consider how ethics and best practice in artist-led and self-organised spaces operate and can be improved.


Aimme Bollu, Alfie Strong, Andrew Sim, Asbjørn Skou, Beth Kettel, Bex Massey, Billy Craigan-Toon, Bobby Sayers, bod [包家巷] , Burkut Kum, Charlie Duck, Charlotte Cullen, Ciarán Harrington, Collette Rayner, Connor Brazier, Craig Fisher, Daniel Sean Kelly, Dominic Watson, Elin Karlsson, Elvin Sanders, Emii Alrai, Emily Simpson, Felicity Barrow, Frédéric Liwer, Gabriel Méo, Gabriel Nils Edvinsson, Giulio Scalisi, Gregory Herbert, Harry Hurlock, Harry Meadley, Jack Fisher, Jake Kent, James St Findlay, Joanne Lee, Johan Melander, John Fuller, Kaisa Luukkonen, Lucy Wilson, Mark Riddington, Mimi Winsor, Monty Renshaw, Oliver Tierré, Riikka Gröndahl, Rob Flint, Robert Thomas James Mills, Sam Hewland, Sam Read, Simon Raven, Sophie Jennis, Stach Szumski, Stasis, Suzanne van der Lingen, Tea Strazicic, The White Pube, Twee Whistler, Victoria Grenier, Ville Kallio, Wally Petrushenko, 12Ø Collective.

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