News : 2012/09

2012/09/28

Pedro Gómez-Egaña, Toril Johannessen, Cameron MacLeod and Magnhild Øen Nordahl at blank projects, Cape Town

Pedro Gómez-Egaña, The Tristan Chord, 2008–2012. Courtesy of the artist

OCA ANNOUNCES

the participation of Pedro Gómez-Egaña, Toril Johannessen, Cameron MacLeod and Magnhild Øen Nordahl in ‘Machine Worries, Machine Hearts’ at blank projects, Cape Town, South Africa

Curator: Anthea Buys

Exhibition Dates: 5–27 October 2012
Opening Reception: Thursday 4 October, 18:00

blankprojects.com

According to curator Anthea Buys, ‘Machine Worries, Machine Hearts’ is a group exhibition ‘about the possibilities of human-machine empathy’ inspired by an ancient Chinese story by the philosopher Zhuangzi. In the fourth century B.C.E. he wrote a fable of a traveling scholar who encountered a farmer struggling to retrieve water from a well to irrigate his crops. The farmer didn’t want the help of machines, because he was afraid that they might corrupt some ‘essentially human quality’ within him. Buys states that 'this anxiety, and the territory of human-machine relations more broadly, is well-explored in science fiction and cybernetics. However, in this exhibition, we take the phrases "machine worries" and "machine hearts" at face value and imagine them as real emotional states or ways of feeling. What are “machine worries”, or what might it be like for a machine to “worry”? Can we imagine our way into the “hearts” of machines?’

For press inquiries and more information on this announcement, please contact Anthea Buys.

About the artists
Pedro Gómez-Egaña
(b.1976 in Colombia, lives and works in Oslo, Norway and Copenhagen, Denmark) is trained as a composer and visual artist at Goldsmiths College, London, UK and the Bergen National Academy of Arts, Norway. His work with sculpture, video and audio has been presented in national and international venues such as Kunstnernes Hus, Oslo; Hordaland Kunstsenter, Bergen; L’appartement 22, Rabat, Morocco; Institute of Contemporary Art, London, UK; CCMoca, Buenos Aires, Brazil and Kunstraum Kreuzberg, Berlin, Germany. Gómez-Egaña has developed a variety of research projects at different institutions and with partners such as the British Council, Goldsmiths College, Kunstnernes Hus, The Laban Centre, Bergen National Academy of Arts, and Universidad Nacional de Colombia.

Toril Johannessen
(b.1978 in Harstad, Norway, lives and works in Bergen) holds a BA and MA from the Bergen National Academy of Arts and was trained from the Mountain School of Arts, Los Angeles, CA, USA. She was one of the participating artists in dOCUMENTA (13), Kassel, Germany (2012). Her work has been presented at Witte de With, Rotterdam, The Netherlands; SMART Project Space, Amsterdam, The Netherlands; Bergen Art Museum, Bergen; CSA Space in Vancouver, Canada and INCA, Detroit, MI, USA.

Cameron MacLeod
(b.1975 in Halifax, Canada, lives and works in Bergen) graduated from the Konstfack University of Art, Craft and Design in Stockholm, Sweden. He is a founding member of the artist collective and gallery Platform in Stockholm and he has been exhibiting his work in VIAFARINI, Milano, Italy; Shoshana Wayne Gallery, Santa Monica, CA and at Det Åpne Teater, Oslo, Norway.

Magnhild Øen Nordahl
(b.1985 in Ulsteinvik, Norway, lives and works in Stockholm) is enrolled in the Masters programme at the Royal Swedish Academy of Fine Arts in Stockholm. Recent exhibitions include ‘Spatial Dispacements: The Space in Between’, Tin Sheds Gallery, Sydney, Australia (2012); ‘The Armory Show Annex’, ACE Hotel, New York, NY, USA (2012) and 'White painted bricks', Die Fabrik, Burgdorf, Switzerland. She held a solo exhibition titled ‘Statics’, at NO.5, Bergen Kunsthall in 2011.

OCA Support
Pedro Gómez-Egaña, Toril Johannessen, Cameron MacLeod and Magnhild Øen Nordahl's participation in ‘Machine Worries, Machine Hearts’ at blank projects is supported by OCA's International Support Programme. 




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2012/09/25

Linn Pedersen Solo Exhibition at Künstlerhaus Bethanien, Berlin

Linn Pedersen, Floor Arrangements (detail), 2012. Courtesy of the artist

OCA ANNOUNCES

‘Floor Arrangements’ by Linn Pedersen
at Künstlerhaus Bethanien, Berlin, Germany

Exhibition Dates: 28 September–21 October 2012
Public Hours: Tue–Sun 14:00–19:00
Opening Reception: Thursday 27 September, 19:00–22:00

As part of Linn Pedersen's twelve-month residency in Berlin, Künstlerhaus Bethanien presents the exhibition 'Floor Arrangements' from 28 September to 21 October 2012. According to Künstlerhaus Bethanien, the exhibition 'combines black and white and colour photographs with sculptures, attempting to create a kind of "sculptural" photography, in which different motifs and materials interrelate'. The title is a reference to Bruce Nauman's work Flour Arrangements (1967), a photographic series for which Nauman created different compositions using flour on his studio floor every day for a month, subsequently taking photos of the arrangements. Reflecting this approach, Pedersen arranged clusters consisting primarily of dried clay, which she sprayed with lively, bright paints, re-arranged them continually over the course of the last six months, and photographed them in detail. The organisers further say that 'her microscopic perspective opens up new worlds reminiscent of brightly-coloured moon landscapes or flower arrangements. The artist contrasts these abstract clusters with concrete, "figurative" works such as her black and white photographs of stone figures, containers, abandoned vehicles or other objects and constructions found in nature'.

For press inquiries and more information on this announcement, please contact presse@bethanien.de.

About the artist
Linn Pedersen (b.1982 in Sortland, Norway, lives and works in Oslo, Norway) holds a BA from the Bergen National Academy of the Arts, Bergen, Norway and an MA from Central Saint Martins in London, UK. 'De innbygde' in 2010 at Maria Veie Gallery was her first solo show in Norway, which included photography, sculpture, collage and video/film as well as the artist book Stub (Lord Jim Publishing). Other recent exhibitions include 'Scandinavian Forest', Akershus Kunstnersenter, Lillestrøm, Norway (2011); 'X Artworks in a straight line (Seeking the perfect sphere)', CRISP, London (2010); and 'Weird Science', Waterside project space, London (2010).

About OCA's Künstlerhaus Bethanien Residency Programme, Berlin
Linn Pedersen holds a fellowship from OCA as part of its International Studio Program at Künstlerhaus Bethanien, where OCA offers one annual twelve-month residency programme for an artist. Applications are accepted from Norwegian artists and international artists residing in Norway. During the residency the artist is offered an exhibition at Künstlerhaus Bethanien, directed by Christoph Tannert, and a presentation of the artist portfolio will be included within the BE-Magazine, published by the institution. 

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2012/09/18

Bjarne Melgaard and Snøhetta at ICA, London

Bjarne Melgaard's drawing interpreted in a 3D model, 2012. Courtesy of Snøhetta

OCA ANNOUNCES

‘A House to Die in’
A Collaboration between Bjarne Melgaard and architects Snøhetta
at Institute of Contemporary Arts (ICA), London, UK

Curator: Matt Williams

Exhibition period: 26 September–18 November 2012
Opening Reception: 25 September, 18:00–21:00

The exhibition ‘A House to Die In’ (2012) is the result of a close collaboration between artist Bjarne Melgaard and the Norwegian architectural firm Snøhetta. Since 2011, Melgaard and Snøhetta have exchanged architectural drawings, models and documents as they work towards the realisation of a purpose-built house, where Melgaard will live and work. For his exhibition at the ICA, Melgaard will present a full-scale facade of the proposed building, alongside models and drawings that form part of a wider body of research. This material constitutes the first stage in the construction of the final building, scheduled to be built in Oslo in 2014. According to curator Matt Williams, ‘the collaborative process between Melgaard and Snøhetta is a positive struggle in which both parties are constantly challenged, notably in Snøhetta's interpretation of Melgaard’s two-dimensional and analogue drawings through three-dimensional digital renderings of the objects. Furthermore, various processes of mathematical abstraction have led to multiple stages of representation of the original information, namely Melgaard’s vision of a house "to die in", a project outside their comfort zone’.

For press enquiries and more information on this exhibition, please contact Naomi Crowther, Press Officer, ICA.

About Bjarne Melgaard
Bjarne Melgaard (b.1967 in Sydney, Australia, lives and works in New York, NY, USA) studied at the Jan van Eycke Academie, Maastricht, the Netherlands; Rijksacademie, Amsterdam, the Netherlands; Oslo National Academy of the Arts and the Academy of Fine Arts, Warsaw. His work has been the subject of solo exhibitions at public institutions such as Haugar Vestfold Kunstmuseum, Tønsberg, Norway (2012); Bergen Kunstmuseum, Bergen, Norway; Astrup Fearnley Museum of Modern Art, Oslo; de Appel, Amsterdam (2010); Bergen Kunsthall, Bergen (2003); MARTa Herford, Herford, Germany and Galleria d’Arte Moderna, Bologna, Italy (2002). In 2011, Melgaard represented Norway at The 54th International Art exhibition, La Biennale di Venezia, with the teaching programme ‘Beyond Death: Viral Discontents and Contemporary Notions about AIDS’, commissioned and organised by Office for Contemporary Art Norway.

About Snøhetta
Formed in 1989, Snøhetta is an international architecture, landscape architecture, interior architecture and graphic design firm based in Oslo and New York. Their practice is centered on a trans-disciplinary approach where multiple professions work together to explore differing perspectives on the conditions for each project. Snøhetta has during the last 10 years won several major projects all over the world, among them National September 11 Memorial Museum Pavilion at the World Trade Center in New York; San Francisco Museum of Modern Art, CA, USA; Mutrah Fishmarket in Oman and King Abdulaziz Center for World Culture in Dhahran, Saudi Arabia. Snøhetta was awarded the World Architecture Award for best cultural building in 2002 for the Bibliotheca Alexandrina, Alexandra, Egypt and in 2008 for the National Opera and Ballet in Oslo.

OCA Support
Bjarne Melgaard's participation in ‘A House to Die in’ at Institute of Contemporary Arts (ICA), London, UK is supported by OCA's International Support Programme. 




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2012/09/17

`The Articulation of Protest': A Lecture by Alberto Toscano

From William Bunge’s Fitzgerald: Geography of a Revolution (1971)

Norsk versjon

OFFICE FOR CONTEMPORARY ART NORWAY WELCOMES

ALBERTO TOSCANO
As the second lecture in the series

`The Articulation of Protest´
A Programme on Some of the Logistics
of Information and Social Activism Today

Friday, 21 September 2012 / 19:00
Live audio streaming

Office for Contemporary Art Norway 
Nedre Gate 7 
0551 Oslo, Norway 
www.oca.no l info@oca.no

OCA welcomes social theorist and philosopher Alberto Toscano on Friday 21 September at 19:00, with a lecture dedicated to the rift between logistics, on the one hand, and protest, dissent and intervention, on the other. In his paper, Toscano will analyse how the current focus on the politics of logistics and the insistence on invisible circulation might be undermining or sidelining the art of protest.

Invisibility, connectivity, the immaterial and the systemic, all associated to modern economic life, pose persistent problems that are even more urgent in times of depression. It is normally in these times when the interruption of the flow of goods and people makes the system and its mechanics visible. But, as Harun Farocki’s investigations into the language of war and marketing show, images of the symbols of power and resistance are often made not to be seen. Perhaps because of this, much recent artistic work that seeks to unsettle consensual perceptions of our world has been profoundly preoccupied by logistics – by the mutation of maritime space into a the space of containers, by the creation of virtual theatres of war, by the innervation of lived experience by abstract matrices of information and finance… However, is this almost ubiquitous focus on the logistical taking us away from the art of protest? Should we trust its suggestion that the only strategies we have left are blockage, interruption and sabotage, and no longer proposals for change? 

Alberto Toscano has written on militancy, egalitarianism, religious thought and social protest, in order to explore ‘the point at which theology (or religious practice and conviction) and social protest intersect’. His 2010 book Fanaticism: On the Uses of an Idea addresses a poverty of analysis and imagination resulting from the wish to remain within a closed theoretical horizon, in which, adopting the words of Margaret Thatcher, ‘there is no alternative’. In response, Toscano proposes a sociological critique that ‘can function as a potent antidote to the role of the concept of fanaticism as a kind of negative talisman, a tool for exorcism’, shifting the understanding of fanatical movements ‘beyond the merely ideational level, to that of social groups, interests, discourses, as well as their patterns of communication, and their specific intensities and patterns of emergence’.

ABOUT THE PROGRAMME
The Articulation of Protest’ is a programme of two lectures that looks into strategies that have emerged in recent times through actions and communication, and in dialogue or confrontation with existing legislation, with the aim to secure free circulation of information and knowledge in the face of the state's or capital's attempts to control and to commodify them. In doing so, they explore individual and collective initiatives and other strategic choices, and discuss them in relation to a history of critical organisation, of free speech and activism.

The Swedish historian Rasmus Fleisher opened the programme on 14 September with a lecture about current developments and polemics within ‘social media’ and the reality of a social engagement within these channels.

ABOUT THE SPEAKER
Alberto Toscano
 
Alberto Toscano is a social theorist, philosopher and a lecturer in sociology at Goldsmiths, University of London, UK. Toscano is the author of Fanaticism: On the Uses of an Idea (2010) and The Theatre of Production: Philosophy and Individuation Between Kant and Deleuze (2006). He has translated into English several works by Alain Badiou, such as Logics of Worlds (2009), The Century (2007) and Handbook of Inaesthetics (2005), and is co-editor of Alain Badiou’s Theoretical Writings (2004) and On Beckett (2003). He has co-translated and prefaced Éric Alliez’s The Signature of the World (2004) and Antonio Negri’s Political Descartes (2007). He has published several articles on contemporary philosophy, ontology and social theory. He sits on the editorial board of the journal Historical Materialism, and edits the Italian List for Seagull Books. He is currently completing a book on representations of contemporary capital, titled Cartographies of the Absolute (with Jeff Kinkle).

For more information on the programme, please contact OCA’s press officer Maria Moseng

2012/09/13

Guttorm Guttormsgaard in the Busan Biennale 2012: `Garden of Learning'

Guttorm Guttormsgaard, draft for An Exhibition within the Exhibition, 2012.
Courtesy of the artist

OCA ANNOUNCES

Guttorm Guttormsgaard in the Busan Biennale 2012: ‘Garden of Learning’

Artistic Director: Roger Buergel
Exhibition Period: 22 September–24 November 2012
Press preview: 21 September, 10:00–16:00
Opening Reception: 22 September, 16:00

gardenoflearning.info

For the Busan Biennale 2012 entitled ‘Garden of Learning’, Guttorm Guttormsgaard has designed a succession of rooms that begins with a 'Camera Obscura'. The following rooms serve to display the artist’s own collection of artworks, artefacts, and books, including his own opus magnum Arkiv (Archive). In ‘Camera Obscura’, the outside space enters upside down through a tiny hole in which the light beam projects an image of the world outside on a screen. The next room houses an organic piece of wood and a moveable tractor wheel filled with pebbles that make the sound of the sea, along with a selection of Guttormsgaard’s own artworks. The third room displays more than one hundred objects, images, prints and books from all over the world in a loose, associative fashion, with every single item deriving from Guttormsgaard’s archive. According to the artist, ‘there exists no overall classification for this idiosyncratic collection’. Rather, the artist ‘proposes to the viewer a form of sensual collaboration. The connections generated start from the formal properties of any given object. They are based upon a strange, very personal mix of conscious and unconscious memories, as well as bits and pieces of knowledge’.

According to the organisers, ‘Garden of Learning’ starts with the relative ignorance of the Artistic Director Roger Buergel. In order to find the answer to questions such as ‘what do we wish to know about Korea’ and ‘what are the general audience’s many needs when it comes to Biennale-type exhibitions’, the Busan Biennale 2012 is mainly conceived by a Learning Council consisting of an open forum of people from Busan and wider Korea. Over the months, members of the Learning Council ‘studied Korea’s social and political texture, artistic methodologies and aesthetic pedagogy. During this process, some artists started collaborations with people in Busan; an art class was formed in which high-school students could address their concerns and a group of people conceived an alternative education programme’.

For press enquiries and more information on this exhibition, please contact Stefan Wellgraf.

ABOUT THE ARTIST
Guttorm Guttormsgaard (b.1938 in Oslo, Norway, lives and works in Blaker, Norway) is an artist mainly working with graphic and public art. He is also a collector of vintage craft and books. He graduated from the Norwegian National Academy of Craft and Art Industry (now Oslo National Academy of the Arts) and The Royal Danish Academy of Fine Arts. Main exhibitions include Bomuldsfabriken Kunsthall, Arendal, Norway (2010); the National Gallery of Norway, Oslo (now part of The National Museum for Art, Architecture and Design) (1988) and Kunstnerforbundet, Gallery of Contemporary Art in Oslo (1976). Public art projects include Arendal Kulturhus, Norway; the Torhov Park, Oslo; Faculty of Medicine and Domus Atletica, University of Oslo; Oslo Central Station and the University Campus, University of Tromsø, Norway. Guttormsgaard has also held several teaching positions such as Associate Professor, the Oslo School of Architecture and Design (1969–73), Associate Professor, Norwegian National Academy of Craft and Art Industry (1977–80) and Professor in graphic art, Norwegian National Academy of Craft and Art Industry (1980–86). In 2007 he was appointed Festival Artist of the Molde International Jazz Festival. In 2011 he collaborated with the Office for Contemporary Art Norway for the exhibition ‘Forms of Modern Life’, in which publications and printed matter from his collection, coming from nearly six centuries of history, were exhibited.

OCA Support
Guttorm Guttormgaard’s participation in the Busan Biennale 2012: ‘Garden of Learning’ is supported by OCA's International Support Programme

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2012/09/12

Elmgreen & Dragset and Goksøyr & Martens at the Liverpool Biennial 2012

Goksøyr & Martens, Palestinian Embassy, Oslo, 2009. Courtesy of the artists

OCA ANNOUNCES

Elmgreen & Dragset within ‘The Unexpected Guest’
Venue: Thomas Steers Way, Liverpool ONE

Goksøyr & Martens within ‘City States’
14–16 September, 16:30–17:30
Venue: Palm House, Sefton Park

Artistic DirectorSally Tallant
Biennale Period: 15 September–25 November 2012
Professional Preview: 13–14 September 2012

biennial.com

According to artistic director Sally Tallant, the Liverpool Biennial unfolds through a programme of exhibitions and projects that ‘lead to a rediscovery of the city’. Newly commissioned and existing artworks and projects are presented in diverse locations, including ‘unusual and unexpected’ public spaces as well as the city’s galleries, museums and cultural venues. As part of the programme ‘The Unexpected Guest’, Elmgreen & Dragset will present But I’m on the Guest List Too! (2012), which will be on view inside the shopping complex Liverpool ONE. Commissioned especially for the biennial, curator Lorenzo Fusi states that the work is ‘a challenge to socio-political conventions, deconstructing and reassembling power structures with a playful twist. Popular culture and social behaviour are questioned by the examination of the hierarchy of values and meritocracy established by celebrity-culture. The artists’ oversized V.I.P. door – slightly ajar – is guarded by a bouncer. It invites the viewer in but cannot be opened fully, blurring the line between welcome and exclusion’.

Part of the event 'City States', Goksøyr & Martens will present the performance Palestinian Embassy during the three opening days in Sefton Park, Liverpool. The event includes the inauguration of a 'Palestinian Embassy' and balloon trips over the city. Departing from the city centre, politicians and academics will join the 'Palestinian Ambassador' aboard the balloon for discussions on topics concerning the Palestinian peoples diplomatic and democratic conditions. The discussions are led by a British moderator and transferred directly to the ground where the audience can listen live. Palestinian Embassy will also be part of the 'City States' exhibition at the LJMU Cooperas Hill Building, Liverpool from 14 to 25 November. Palestinian Embassy is curated and produced by Kristine Jærn Pilgaard.

For press enquiries and more information on this exhibition, please contact Antony Pickthall, Head of Marketing & Communications, Liverpool Biennial.

ABOUT THE ARTISTS
Elmgreen and Dragset is a duo composed by Michael Elmgreen (b.1961 in Copenhagen, Denmark) and Ingar Dragset (b.1968 in Trondheim, Norway). They have been working together in London, UK and Berlin, Germany since 1995. Presentations of their work include The Fourth Plinth, Powerless Structures, Fig 101, Trafalgar Square, London, UK (2012-13); Celebrity: The One and the Many, ARoS Aarhus Kunstmuseum, Denmark (2011) and Happy Days in the Art World, Performa 11, New York, USA, (2011). In 2009 Elmgreen & Dragset curated the international exhibition within the Nordic and Danish pavilion at La Biennale di Venezia, Italy.

Goksøyr & Martens is a performance project established in 1997 by Toril Goksøyr (b.1970) and Camilla Martens (b.1969). Their practice represents an exchange between the political and the art fields where documentary strategies and authentic elements are connecting theatre to reality. Goksøyr & Martens have presented their work at Museum of Contemporary Art Oslo, Norway; The National Theatre, Oslo; Johannesburg Art Gallery, South Africa; Festival D’Avignon, France; F.I.N.D Schaubühne Berlin, Germany; Art Saloon Belgrade, Serbia and La Biennale di Venezia.

OCA Support
Elmgreen & Dragset and Goksøyr & Martens’s participation in the Liverpool Biennial 2012 is supported by OCA's International Support Programme.

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2012/09/06

`The Articulation of Protest': A Lecture by Rasmus Fleischer

Norsk versjon

OFFICE FOR CONTEMPORARY ART NORWAY WELCOMES

RASMUS FLEISCHER
to lecture as part of 

`The Articulation of Protest´
A Programme on Some of the Logistics
of Information and Social Activism Today

Friday, 14 September 2012 / 19:00
Live audio streaming

Office for Contemporary Art Norway 
Nedre Gate 7 
0551 Oslo, Norway 
www.oca.no l info@oca.no

OCA welcomes Rasmus Fleischer as speaker next week, on Friday 14 September, at 19:00 to lecture about current developments and polemics within ‘social media’ and the reality of a social engagement within these channels. In his analysis, Fleischer will consider how enthusiasm and skepticism towards the internet, may in some cases, be part of the same counter-revolutionary coin. This presentation will be an attempt to understand how speed or its contrary, delay, may become a resource for a deepened critique of our contemporaneity.

Rasmus Fleischer is a Swedish historian and co-founder of Piratbyrån (The Bureau of Piracy), a group closely aligned with the Pirate Bay. He has written extensively on how anti-piracy movements are today fiercely attacking different kinds of search engines solely because they provide links to files which may be copyrighted – with Google among the very few uncontested. Gray zones are fostered by obsolete copyright laws, which according to Fleischer found their golden age roughly between 1800 and 1950 specifically around publications without a revisionary evaluation as to their applications within digital technology – that according to Fleischer, are set out with the purpose to copy digital information. Facing these realities, copyright industries have gone to the level of a draconian defensive creating an environment of juridical surveillance that effectively constitutes net censorship and consequently to one-side licensing deals. In recognising that creative practices ‘thrive in economies where digital abundance is connected to scarce qualities in space and time’, Fleischer maintains that there can never be a question of finding one universal business model for a world without copyright. But then a more urgent question is to be posed – ‘what price we will have to pay for upholding a phantasm of universal copyright?’.

ABOUT THE PROGRAMME
The Articulation of Protest’ is a programme of two lectures that will look into strategies that have emerged in recent times through actions and communication, and in dialogue or confrontation with existing legislation, with the aim to secure free circulation of information and knowledge in the face of the state's or capital's attempts to control and to commodify them. In doing so, they will explore individual and collective initiatives and other strategic choices, and discuss them in relation to a history of critical organisation, of free speech and activism.

Rasmus Fleisher will be the introductive speaker of the programme, followed by social theorist Alberto Toscano, author of Fanaticism: On the Use of an Idea, on 21 September at OCA at 19:00.

ABOUT THE SPEAKER
Rasmus Fleischer
 
Rasmus Fleischer is a Swedish historian, writer and occasional musician. For nearly a decade, he has been lecturing about the crisis of copyright. He was one of the persons behind Piratbyrån (or The Bureau for Piracy), a group which during its existence (2003–09) tried to actively question the basics of ‘intellectual property’ in the intersections of technology, art and politics. He is the author of the books Musikens politiska ekonomi (The Political Economy of Music, 2012), Boken & Biblioteket (The Book and the Library, 2011) and Postdigitala manifestet (The Postdigital Manifesto, 2009), which is also his PhD thesis at the Institute of Contemporary History at Södertörn University, concerning the motivations behind regulation of sound media during the 20th century. As a historian, Rasmus Fleischer is also investigating the transformations of contemporary fascism.

For more information on the programme, please contact OCA’s press officer Maria Moseng.

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