May 11th – July 2nd
Curated by Jan Kaila and Henk Slager

The first exhibition in the Research Pavilion,You gotta say yes to another access, presents a multiplicity of interpretations and approaches from artists doing research in Northern Europe. It offers a strong statement about the accessibility of various aesthetics and political approaches within the doctoral studies and artistic educational sphere as a whole in Finland, Norway and Sweden. The exhibition demonstrates that universities and academies function as genuine laboratories within contemporary art.

At the entrance of the pavilion the karaoke setting (CC-Bye Bye Baby) by Andrea Coyotzi Borja & Sinem Kayacan makes a statement about the directive character of the participation rhetorics that form the basis of the Berlin Declaration of Open Access.

Andre Alves’ video-installation A shadow in plain-sight links Dan Graham’s sculptural glass environments to Nietzsche’s dialogue between The Wanderer and his Shadow. This interaction invites further thought on the nature of openness in art.

Starting from a series of conversations with post-migrant youths in Sweden about geopolitical problems such as integration, imagination and utopia, Behzad Khosravi-Noori & Rene Leon-Rosales, present the multi-channel video-installation Accessing Utopia.

Taking Jacopo de' Barbari’s View of Venice as a starting point, Bull.Miletic revisit established hierarchies of space and power embedded in the document’s cartographic principles of composite imaging and spatial control, while shedding light on its new life as digitally encoded micro-temporal events distributed across networks into new topological configurations.

Eva Weinmayr’s multi-part installation "Library Underground – a reading list for a coming community" presents a workspace to explore strategies of radical librarianship and models of dissemination, which propose alternatives to the streamlining of knowledge through institutional policies.

Mireia c. Saladrigues takes visitors on a Virtual Tour of the Research Pavilion. It questions what the presence of the Google Street View Camera in the exhibition space reveals about the physicality and relevance of online systems. What is the (limited) metaphorical space of the screen in giving access to an immersive worldwide exploration of the exhibition?

With her installative photo work Access to Landscape Niran Baibulat draws attention to the writerly body: a body that does not primarily focus on simply communicating an accessible message, but focuses especially on negotiating with situational factors.

By using animation and masquerades Stacey Sacks’ video-installation The Walls Have Tongues (or peace the old-fashioned way) looks for architectures of privilege. From a postcolonial body she considers the tropes of sovereignty and entitlement, which are intrinsically connected to notions of access and identity.

Tao G. Vrhovec Sambolec's installation Reading Stanley Brouwn showcases a physical form of archiving. Sambolec purposefully questions the understanding of the written-documentation archive – so crucial to current access thinking - as something tied exclusively to the past.

Vincent Roumagnac’s intervention, Backdrop, is made up from a large semi-transparent greenhouse film that is secured to a backstage arch at the far end of the exhibition space in such a way that it disrupts the apparent, linear understanding of the stage.