Sam Hultin (b. 1982) is an artist based in Stockholm, Sweden. Their work is based on their interest in queer history, identity and community and explores connections between personal experiences and larger political and social structures. Sam’s work is represented in the collections of Moderna Museet, Stockholm, Gothenburg Museum of Art and Malmö Art Museum.
Eva-Lisa Bengtson (1932–2018) was a Swedish trans pioneer and a lesbian activist who started Sweden’s first club for trans people—Transvestia—in 1964. She was also one of the founders of Kvinnohuset (The Women’s House) in Stockholm, the trans associations Benjamin and FPE-NE, and was active in a number of other lgbtqi organisations. Despite her great importance to the lgbtqi movement, few knew about her work, partly because of the transphobia within the movement, but also because she couldn’t live openly as a trans person in her daily life. In the podcast, Sam Hultin introduces the listener to Eva-Lisa, Transvestia, and Sam’s project, Eva-Lisa’s Monument. In the project, which consists of guided walking tours, collective readings, and anniversaries, Sam invites today’s trans community to activate the archive that Eva-Lisa created during her life as an activist and that Sam took over after Eva-Lisa’s passing.
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READIn this podcast, Princess Jimenez takes listeners on a journey through the central topic of how migrants and refugees are always asked “what are you doing here?” Or “if you don’t like it, leave”. Listen to Princess Jimenez’s unflinching responses as she siezes the bull by the horns in response to such racist questions.
The Question
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Who has the freedom of speech in art? What about the responsibility of speech? Can artworks be misinterpreted? Why do some people’s opinions weigh more than others? What is institutional responsibility? What about the media’s responsibility?
Who Has Freedom of Speech in Art?
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Music videos typically are used to entertain the public, but the effects of music videos can be much more far-reaching than just entertainment. They originally served the purpose of creating an outlet where artists could generate publicity for their work, broaden their popular appeal, and reach wider audiences with interesting audio-visual content. Over the years, the visual imagery in music videos has increasingly become as significant as the music itself.
Pehmee’s Watchlist: Breaking Stereotypes, One Music Video at a Time
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READTo connect-the-dots once more, sharing a collection of songs – or a single song really – is very much similar to sharing emotions, skills, knowledges, time, food, or a room. Like being on a film set, a screening room, or a conversation together. Like sending the spontaneous text message to a stranger telling them how much you enjoyed their film.
Nettles in the Summer