Mobile Art Production
Mobile Art Production, MAP, was an art organisation producing and showing situation specific art projects between 2007 and 2012. All parts of the organisation were based on the artists’ or curators’ ideas. Originating from those ideas specific collaborations were established in order to produce new works and creating the situations best suited to show the different exhibitions. MAP was founded by Magdalena Malm and aimed for space for experimentation and time for developing new ideas. The productions could include any material or media; anything from sound, moving image to more classical expressions. They were shown in venues as different as in an apartment, in a window, a bank, on a square or in a temporary art space.
MAP was equal part an art producer and a developing project, where pratice and theory collaborated in order to examine new ways and methods to produce and show contemporary art.
From 2006 to 2012 Annika Wik played a part in idea and concept development, and when MAP established a research platform in 2010 she became Head of Research. Below follows a number of research projects realised within the organisation:
1. The study and the development project Båda parter. En studie av samarbeten mellan kultur och näringsliv (2007) a mapping of the different kinds of collaborations that exist between culture and business in Sweden with some particularly interesting international examples. The purpose was to investigate and analyze different financing options. Editors: Magdalena Malm and Annika Wik.
2. The book Rörlig konstproduktion – Mobile Art Production describes the thought and ideas behind MAP and the curatorial methods that formed the base for the activities. The book is a documenation of the exhibitions between 2007-2010, but it is also an examination of how an enterprise such as MAP’s can be documented. The book was funded by Propexus Förlag, Stiftelsen Längmanska kulturfonden and Framtidens Kultur. Editors: Magdalena Malm and Annika Wik.
3. Mobility, Dialogue and Experience: Audience in contemporary participation culture was a research project run between May 2010 and April 2011. The purpose of the project was to analyse participation in the contemporary media landscape in order to see what kind of consequences this participation will have on contemporary exhibition practices and audience communication. The project was funded by Swedish Arts Council and Stiftelsen GIPS.
4. The project Viewing Positions in Contemporary Art was a mapping, exploration and contextualisation of the role of the audience in curatorial and artistic practice. The results from this research were presented at the seminar Imagining the Audience. Viewing Positions in Curatorial and Artistic Practice, October 1-2, 2012, to international artists and curators who have developed new and interesting ways of relating to the audience. The project was a collaboration between MAP, Riksutställningar and CuratorLab/Konstfack. The book was published by Art and Theory, 2012. Editors: Magdalena Malm and Annika Wik.
5. During the spring and summer of 2012, MAP was running the development project Recreating Experience experimenting with new ways of recreating the experience of art projects on the web, based on the preconditions of the internet. In order for art to work in this environment it is necessary for these possibilities to be developed. The aim was to make art projects available for a longer period of time and to make them accessible both nationally and internationally. The focus was not only on documenting work but to also on trying to capture the experience of it.
MAP developed four different formats for the documentation of projects that differed in nature, size and tone working with methods borrowed from film, dramaturgy and performance art. The project employed tools such as sound, narrative voices and subjective cameras, and collaborated with a development team consisting of a film and media researcher, a performance group and a stage director, in order to find the best way of communicating the art experience digitally. The aim of the web project was to involve an audience before, during and after an exhibition. The main focus lied on how the documentation process could best recreate the actual art experience.