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Goldin+Senneby (since 2004) is a framework for collaboration set up by artists Simon Goldin and Jakob Senneby; exploring juridical, financial and spatial constructs through notions of the performative and the virtual. www.goldinsenneby.com STANDARD LENGTH OF A MIRACLE with Jonas Hassen Khemiri (author), Behnaz Aram (costume designer), LiLaRo (tailors), Mehrdad Arta (graphic designer), Zhala (musician), Moa Ott (carpenter), Samir Al-Nehlaoui (arborist)

For the retrospective exhibition ’Standard Length of a Miracle’, Swedish author Jonas Hassen Khemiri wrote a meta-fictional response to Goldin+Senneby’s practice, which is read out loud by a gallery attendant every day at 14.12. In the short story Standard Length of a Miracle, the narrator changes his name to Anders Reu- terswärd, hoping to increase his chances of getting hired at a konsthall. At a brisk pace without any full stops or breathing space, the reader gets thrown into a stream of consciousness where all associations are equally important. The short story’s monologue is connected to the installation of an oak in the gallery space. The tree refers to the oak that occurs in Khemiri’s text and also to the surrealist Georges Bataille’s secret society Acépahle, which is said to have gathered around an oak tree in the late 1930s. Acéphale—Greek for headless—has long been of interest to the artist duo and figures in their multi-year project Headless. The oak functions as a meeting place for discussions and seminars during the exhibition period, and, as the carpenter Moa Ott takes on the tree, new furniture is be produced around it. The clothing line Anders Reuterswärd, developed in collaboration with Behnaz Aram, fashion and costume designer, is another part of this production. The materials for the clothes originally come from garments left behind at dry cleaners. The clothing line is worn by the konsthall’s staff during the exhibition, as a new conceptual uniform, and is also available for sale in a clothing store. The clothes are inspired by Reuterswärd’s quest to leave his job at the dry cleaner in order to focus on an artistic career. Aram designed a new conceptual uniform by deconstructing and re-sewing the clothes. The clothes are accompanied by a new soundtrack composed by the musician Zhala, using sound recordings from dry cleaners.

DOWNLOAD: ”Standardlängden av ett mirakel” novell av Jonas Hassen Khemiri (Svenska) ”Standard Length of a Miracle” short story by Jonas Hassen Khemiri (English)

Performance view, Tensta konsthall, Stockholm 2016. Photo: Hanna Ukura Staff at Tensta konsthall in Anders Reuterswärd clothes, Stockholm 2016. Photo: Märta Thisner

Anders Reuterswärd clotes for sale at A Day’s March, Stockholm 2016. Photo: Jean-Baptiste Beranger Installation view, Tensta konsthall, Stockholm 2016. Photo: Jean-Baptiste Beranger

Title: Standard Length of a Miracle Medium: Oak tree seminar space / Clothing line Year: 2016

Exhibition history: 2016 Goldin+Senneby: Standard Length of a Miracle, Tensta konsthall, Stockholm (solo show)

Selected Bibliography: Arndtzén, Mårten. ”Smart bokslut av Goldin+Senneby”, Sveriges Radio, 16 February 2016 Hagdahl, Nora. ”What is the standard length of a miracle?”, C-print, 2 April 2016 Hammarström, Camilla. ”Konst på entreprenad”, Aftonbladet, 19 February 2016 Madestrand, Bo. ”Goldin+Senneby: Standardlängden av ett mirakel”, Dagens Nyheter, 4 February 2016 Persman, Joanna. ”Goldin+Senneby - Lång väg till klent mirakel”, Svenska Dagbladet, 11 February 2016 Wikström, Josefin. ”Undersökning utan kritik”, Kunstkritikk, 23 March 2016 Wirtén, Per. ”Dagens kapitalism är en avancerad bluff ”, Expressen, 1 March 2016 THE NORDENSKIÖLD MODEL (2010 - ONGOING) MONEY WILL BE LIKE DROSS with Kunstgiesserei (material research), Daniel McClean (legal advisor), Johan Hjerpe (designer), Malin Nilsson (magician), Pamela Carter (playwright), Maria Lindal (musician), Eva Rexed, Joel Spira and Jakob Tamm (actors)

“Off now, little paper, around the world, and destroy the tyranny of money, so that gold, silver and precious stones may one day cease to be the idols and tyrants of the world!” August Nordenskiöld, 1787. In the 1780’s the mineralogist and Swedenborgian August Nordenskiöld was employed by the Swedish king Gustav III to produce gold through secret alchemical experiments. The gold was intended to finance Sweden’s military and economic expansion, but Nordenskiöld, guided by a different agenda, wanted to produce so much gold that its value would be lost and the “tyranny of money” abolished. Although well known among alchemists and Swedenborgians of his times, the story of August Nordenskiöld remains lar- gely untold to this day. One of the few remaining artifacts from Nordenskiöld’s laboratory is a coal burning alchemy furnace, kept in the storage of the collection of the Nordiska Museet in Stockholm. In the on-going project The Nordenskiöld Model, the Swedish artist duo Goldin+Senneby con- nects August Nordenskiöld’s theories to contemporary finance and to the systems of value production in art. The first part of Money Will Be Like Dross took place at CRYSTAL in January 2012, where an exhibition was staged in the gallery to ensure a loan of the original Nordenskiöld alchemy furnace from the Nordiska Museet. In the seclusion of the locked gallery, the furnace was secretly scanned by Swiss foundry Kunstgiesserei, producing a detailed instruction for making replicas of the furnace. The gallery exhibition opened with a magic show at the 18th Century opera, Drottningholms Slottsteater, with its original interi- ors from the days when Nordenskiöld himself lived and worked in the palace. The magic continues in part two of Money Will Be Like Dross, where collectors are offered a license to produce an unlimited number of replicas of the alchemy furnace to be signed by Goldin+Senneby for the remainder of their lifetime. The signed replica of the furnace becomes an original artwork by Goldin+Senneby. The replica instruction will increase in price for each edition sold, and the instruction is a signed and numbered original artwork in itself. Katarina Sjögren, Crystal

Alchemy furnace of August Nordenskiöld (1754-1792), Crystal, Stockholm 2012. Photo: Alexander Benz Performance view, Drottningholms Slottsteater, Stockholm 2012. Photo: Lina Bjerneld

Production still, Kunstgiesserie at Crystal, Stockholm 2012. Installation view, Replica instruction manual, Lisson Gallery, London 2013. Installation view, Furnace replica, Arts and Crafts museum, Bergen 2013.

Title: Money Will Be Like Dross Medium: Magic act / Replica instruction manual / Furnace replica Year: 2012 Edition (replica instruction manual): Unlimited, with price increase for each edition sold

Exhibition history: 2012 Money Will Be Like Dross, Crystal & Drottningholms Slottsteater, Stockholm (solo show) 2012 ’Frieze Frame’, Frieze NY, Represented by Crystal, Stockholm 2012 Material Information, Arts & Crafts Museum, Bergen 2012 Artissima, Torino, Represented by Crystal, Stockholm 2013 The Magic of the State, Lisson Gallery, London 2013 Things Behind The Sun, NON, Istanbul 2013 Art Turning Left, curated by Francesco Manacorda, Tate Liverpool 2014 Art and Alchemy, Museum Kunstpalast, Düsseldorf 2015 Imaginary Accord, IMA, Brisbane 2016 Standard Lenght of a Miracle, Tensta konsthall c/o Tredje AP-fonden, Stockholm

Selected Bibliography: Assheuer, Thomas. “Fauler Zauber? Von wegen!”, Die Zeit, April 10, 2014 Burke, Gregory. “Predictions: Art and the Future”, Art & Australia, Vol 49 No 4 Winter 2012 Jankowicz, Mia. “Review: The Magic of the State”, Frieze, No 156 Summer 2013 Persman, Joanna. “Besökarna blir aktörer i en gåtfull konstvärld”, Svenska Dagbladet, Feb 2, 2012 Ringborg, Theodor. “Critic’s Pick, Stockholm”, Artforum.com, January 2012 Rubin,Birgitta. “Pengar blir slagg”, Dagens Nyheter, Jan 16, 2012 THE DISCREET CHARM with Pamela Carter (playwright), Ismail Ertürk (cultural economist), Anna Heymowska (set designer), Hamadi Khemiri (actor)

The title of this work alludes to Buñuel’s surrealist film from 1972 (The Discreet Charm of the Bourgeoisie), which parodies the spectacle and self-appointed entitlement of the bourgeoisie. The piece, however, con- cerns the discreet charm of the banking system, or rather, the infrastructures that are created in relation to capital and finance. Using a scale model of the kind frequently used as demonstration material in theatres between the director and actors, or between production teams and investors, an economist – who may pos- sibly be an actor – explains various financial strategies and instruments. The relationship between drama, model, stage and reality is constantly negotiated with the viewer. The perspective shifts between the gallery space we are sitting in, a model of the same space, and the films’s representation of this space. The work is part of a series of projects by Goldin+Senneby, using performance and theatre to explore the geography and methods of the financial market.

Kim Einarsson Curator

PREVIEW LINK (inside model view, Witte de With version): http://vimeo.com/114849502

Password: metafinance

Performance view, Witte de With, Rotterdam, 2011. Photo: Kirsten de Graaf Performance view, Göteborg International Biennial of Contemporary Art, 2011. Photo: Dorota Lukianska

Performance view, Generali Foundation, Vienna, 2012. Photo: Wolfgang Thaler Installation view, Steirischer herbst, Graz, 2013.

Title: The Discreet Charm Medium: Model box presentation Year: 2011 Edition: Unique editions produced for Witte de With, Göteborg International Biennial of Contemporary Art, The Armory Show, Generali Foundation, Steirischer Herbst, Malmö Konstmuseum Public collection: Malmö Konstmuseum

Exhibition history: 2011 The End of Money, Witte de With, Rotterdam 2011 Göteborg International Biennial for Contemporary Art, Gothenburg 2012 The Armory Show, New York, Represented by Crystal, Stockholm 2012 Counter-Production, Generali Foundation, Vienna 2013 The Nordic Model®, Malmö Konstmuseum, Malmö 2013 Connect Four: The Bet, KunstWerke, Berlin 2013 Requiem for a Bank, HMKV, Dortmund 2013 Liquid Assets, Steirischer Herbst, Graz 2013 To the Reader, BAK, Utrecht 2015 Alfred Jarry Archipelago, Le Quartier, Rennes

Selected Bibliography: Burke, Gregory. “Predictions: Art and the Future”, Art & Australia, Vol 49 No 4 Winter 2012 Gelder, Hilde van. “Critic’s Pick, Rotterdam”, Artforum.com, July 2011 Ravini, Sinziana. “Review: 6th Göteborg International Biennial”, Art Forum, December 2011 I DISPENSE, DIVIDE, ASSIGN, KEEP, HOLD with Pamela Carter (playwright), Ismail Ertürk (cultural economist), Anna Heymowska (set designer), Hamadi Khemiri (actor)

I DISPENSE, DIVIDE, ASSIGN, KEEP, HOLD constitutes another stage in the most recent series of projects, The Nordenskiöld Model, an experiment in theatrical finance, articulated as a series of free-standing public rehearsals. The NAK hosts a scene developed by the artists in collaboration with cultural economist and former banker Ismail Ertürk attempting to imagine a future numismatics of a Credit Default Swap (CDS). Numismatics being the study and collecting of coins and currency, Ertürk uses the current financial situation of Greece to trace the material remains of present day financial instruments. The Kunstverein itself becomes a stage for this imaginary numismatic collection, which also references the various developmental phases of monetary and financial economy: a coin from the 4th century BC, an antique money-changer’s table from the seventeenth century with a special sliding mechanism, as well as a display of the current Ger- man national debt. The money-changer’s table, featured centrally in the NAK exhibition, has left its traces on today’s world of finance. Called “banca” in Italian, it is the origin of the word “bank”. If a money changer became insolvent, the device – the “banca” – was destroyed; “banca rotta” indicated bankruptcy. On August 12 the final day of the exhibition, bankruptcy will also be declared at the NAK and the money-changer’s table will be destroyed.

Stephanie Seidel NAK. Neuer Aachener Kunstverein

Performance view, NAK Neuer Aachener Kunstverein, 2012. Installation view, Stockholm School of Economics, 2016. Photo: Jean-Baptiste Beranger Installation view, NAK Neuer Aachener Kunstverein, 2012.

Title: I dispense, divide, assign, keep, hold Medium: PowerPoint presentation and numismatic collection in the making Year: 2012 Edition: 17 unique objects. Acquisition includes agreement to re-photograph object in its new collection

Exhibition history: 2012 I dispense, divide, assign, keep, hold, NAK, Aachen (solo show) 2012 Not surprisingly, he is wearing gloves, Eastside Projects, Birmingham 2012 Skabt af tiden, Nationalmuseum, Copenhagen 2016 Standard Length of a Miracle, Tensta konsthall c/o Stockholm School of Economics, Stockholm M&A with Jo Randerson (playwright), Paul Leong (investment banker), Ybodon (computer scientist), Anna Heymowska (set designer), Johan Hjerpe (graphic designer), Actor

The exhibition “M&A” (Mergers and Acquisitions) proposes to re-set in motion the interrupted work of August Nordenskiöld. This late-eighteenth century alchemist and anti-slave activist was once employed by the King of Sweden to produce sufficient gold to finance a campaign against Russia. Nordenskiöld’s furtive goal in pursuing the Philosopher’s Stone, however, was to generate an excess of gold, thus rendering it - and by extension the symbolic value of money itself - valueless. Goldin+Senneby have worked in collaboration with an investment banker and a computer scientist to develop a complex algorithmic trading model according to which the production budget for the exhibition is invested in the stock market. The exhibition manifests as a series of evolving rehearsals of a script written for “M&A” by Jo Randerson and performed by an actor in the gallery space. The duration of the actor’s contract, and thus the exhibition’s performed component, is determined by the market results of the investment. Mirroring the design of the algorithm intended to detect activity in the stock market that indicates early stages of possible mergers and acquisitions, Goldin+Senneby combine the speculative nature of both theatre and finance and the precarious labour conditions that characterize global society.

Pip Day SBC Gallery, Montreal

Performance view, Artspace NZ, Auckland 2013. Photo: Sam Hartnett Merger Prediction Strategy, with Paul Leong (investment banker) 2013. Photo: Karin Alfredsson Performance view, La Biennal de Montréal, SBC Gallery, Montreal 2014. Photo: Guy L’Heureux

Excerpt from script: ”M&A” by Jo Randerson

ACTOR: And now. Ladies and gentlemen, does anyone have any money? Seriously though, you can totally trust me. Does anyone have any money? If someone gives him some money, he puts it in his pocket, and then tries to pull it out of someone’s ear. Nothing comes out. ACTOR: Sorry, I don’t know what happened to that. Sorry it’s just the luck of the draw, it’s beyond my control. I’m not really sorry. It’s quite complicated the process, you probably wouldn’t understand it. Does anyone have any more money? If anyone gives him more money, he pockets it. The gallery attendant comes over and directs his attention to the script. The actor reads the script. ACTOR (off the script): We apologise if the outcome differs in any way from the intended results. What does that mean – intended? Like – that I really hope something would happen but if it doesn’t… if it doesn’t, then… The gallery assistant dials the actor’s cellphone number. His cellphone rings. He walks to the corner of the room and discreetly takes the call, hiding from the audience. ACTOR: I can’t talk now. I’m acting. I don’t know. Maybe another day? (Pause.) How much is it? (Pause). I’m not interested. Are they American? (Pause.) How much are they selling? Are they like going up or like going down? (Pause.) No I’m not interested. He hangs up. He turns back to the audience – did they notice he just took a phone call? How intelligent are they?

DOWNLOAD FULL SCRIPT: M&A by Jo Randerson Installation view (detail), Artspace NZ, Auckland 2013. Photo: Sam Hartnett

Conversation with investment banker Paul Leong in the context of M&A: https://vimeo.com/124053218 Password: blackstone

Title: M&A Medium: Theatrical rehearsals and financial speuclation Year: 2013

Exhibition history: 2013 M&A, ArtspaceNZ, Auckland (solo show) 2013 M&A, DPAG, Dunedin (solo show) 2013 0 Performance, Special project, 5th Moscow Biennial, Moscow 2014 M&A, SBC Gallery, Montréal (solo show) 2014 L’avenir (looking forward), La Biennale de Montréal

Selected Bibliography: Charron, Marie-Ève. ”Les risques du jeu”, Le Devoir, October 18-19, 2014 Day, Pip. ”M&A: Interview with Paul Leong (investment banker)”, PARSE, Isssue #2, November 3 2015 Hurrell, John. “Scrutinising Stockmarket Speculation”, Eye Contact, April 12, 2013 Jones, Campbell. “That Science: Interview with Campbell Jones”, 95bFM, April 9, 2013 VWAP with Jimmy McAleavey (playwright VWAP), Philip Grant (anthropologist and former equity fund manager), Donald MacKenzie (sociologist), Ybodon (computer scientist), Anna Heymowska (set designer), Johan Hjerpe (graphic designer), Actor

VWAP and Anti-VWAP are part of a series of productions explicitly utilising the infrastructure supporting exhibitions, such as staff, funding, and administrative support, to develop algorithmic trading models. A group of sociologists and political scientists at the University of Edinburgh, headed by Professor Donald MacKenzie, have developed two complementary trading strategies, which have been algorithmical- ly implemented by an anonymous computer scientist and are tested wihtin the framework of two different exhibitions. Leading up to the opening of each exhibition, and concurrent with the development of the trading algorithm, local playwrights have been commissioned to write speculative scenes for the gallery, to be publicly rehearsed for as long as the trading budget lasts. The financial speculation and the theatrical rehearsals both begin on the day of the opening.

Performance view, CCA Derry-Londonderry, 2013. Photo: Paola Bernardelli. VWAP Mean Reversion Strategy, with Philip Grant (anthropologist and former equity fund manager), Donald MacKenzie (sociologist), 2013. Photo: Karin Alfredsson Installaton view (detail), CCA Derry-Londonderry, 2013. Photo: Paola Bernardelli.

Excerpt from script: ”The Queen’s Shilling” by James McAleavey

ELIZABETH II: The weight corresponds to the value, which currently is 3.2056 pence a kilo, down 0.023 pence on close of markets yesterday perhaps due to rumours of an extra potato at dinner leading to over- production, after an earlier flurry of converse speculation surrounding a constipation event which led in turn to a brief run on bran products that had a knock-on effect on livestock feed, milk and cheese. She pulls more toilet roll out. ELIZABETH II: While, over the long term, weight, hence value, returns to the mean, price stability is a key feature of this market and as such comprises the key element of any credible portfolio and the great majo- rity of pension funds and backs currencies such as the UK pound sterling and currencies tied to sterling such as the Kenyan shilling and Zimbalese dong. The Royal Standard Effluvium Index, or RSEI, was introduced to allay market jitters that market critters were bull shitters and to provide concrete values for commodities and companies that had been packaged within complex financial products and instruments for example the value of certain Footsie heavy hitters such as companies of pipe fitters being implicated in consumption of Angostura bitters, the size of Crufts-winning bitches’ litters and sure things like the prevalence in Chicken Maryland of banana fritters, or the impregnation on winter nights of teenage babysitters when there is a shortage of road gritters.’ I made a bit of that up. But only part of it.

Title: VWAP Medium: Theatrical rehearsals and financial speuclation Year: 2013

Exhibition history: 2013 ’VWAP’, Centre for Contemporary Art - CCA, Derry~Londonderry (solo show)

Selected Bibliography: Grant, Philip. ”Too Real an Unreality: Financial Markets as Occult”, e-flux journal #62, 2/2015 Laia, João. “Review: Goldin+Senneby, CCA Derry-Londonderry”, Frieze, No 157 September 2013 ANTI-VWAP with Rob Drummond (playwright VWAP), Philip Grant (anthropologist and former equity fund manager), Donald MacKenzie (sociologist), Ybodon (computer scientist), Anna Heymowska (set designer), Johan Hjerpe (graphic designer), Actor

Momentum Trading Strategy, with Philip Grant (anthropologist and former equity fund manager), Donald MacK- enzie (sociologist), 2013. Photo: Karin Alfredsson Performance view, Collective, Edinburgh, 2013. Photo: Tom Nolan

Excerpt from script: ”Momentum” by Rob Drummond The first thing about Pulse is to remember to stay hydrated. We are made mostly of water but we need to drink it to survive. You’d think we could just draw on our reserves wouldn’t you? But no. I don’t need any water just now but you might. Go on. Have some. He encourages the audience to drink. And it’s also a good idea to invest in a watch like this one that can monitor your heart rate, or your pulse, ha ha, because we don’t want to overdo it, do we? When I was young I didn’t like my heart. It used to creep me out. The fact that it could just stop at any moment. I asked my mother. How does it know to keep beating? She said. Drink your water. My dad said. It’s electricity. From your brain. When will it stop? When your momentum runs out. He said. Now drink your fucking water.

Title: Anti-VWAP Medium: Theatrical rehearsals and financial speuclation Year: 2013

Exhibition history: 2013 ’Anti-VWAP’, Collective, Edinburgh (solo show)

Selected Bibliography: Davis, Jaime Marie.”Goldin+Senneby: Anti-VWAP”, this is tomorrow, January 9, 2014 Grant, Philip. ”Too Real an Unreality: Financial Markets as Occult”, e-flux journal #62, 2/2015 SHORTING THE LONG POSITION with Jo Randerson (playwright), Ismail Ertürk (cultural economist), Ybodon (computer scientist), Anna Heymowska (set designer), Johan Hjerpe (graphic designer), Actor

Rehearsals involve an actor, a gallery attendant and the audience, and are ongoing during the opening hours of the exhibition. The production budget of this work has been invested in an automated trading strategy developed by the economist Ismail Ertürk, speculating in the failure of central banks to save post-crisis capitalism. An actor is employed to rehearse a theatre scene called Shorting the Long Position. Her employ- ment is made entirely dependent on the speculations’ financial performance, with rehearsals continuing for as long as the trading budget lasts. The bleaker the outlook of the global economy, the longer the act continues.

Performance view, 13th Istanbul Biennial, 2013. Photo: Servet Dilber Shorting the Long Position of Central Banks on No-Growth Capitalism (c), with Ismail Ertürk (cultural economist), 2013. Photo: Karin Alfredsson

Title: Shorting the Long Position Medium: Theatrical rehearsals and financial speuclation Year: 2013

Exhibition history: 2013 ’Mom, am I barbarian?’, 13th Istanbul Biennial, Istanbul

PASSIVE LIQUIDITY PROVIDER with Claes-Henrik Julander (strategic investor)

”Goldin+Senneby came back to me with a more challenging request, as I might have expected. They asked for the entire exhibition budget, which they wanted to invest. As part of their Passive Liquidity Provider project, the financial strategist Claes-Henrik Julander had devised a trading algorithm to be used during the show. When their request was turned down, I came up with another approach. I asked participating artists to contribute their fees, which I offered together with my own, to Goldin+Senneby for the duration of the exhibition. “Trading will start on the first day of the show, with profits/losses distributed at its close”, I wrote. “I see this as somewhat akin to a ponzi scheme – although in this case the money really will be invested, and you would receive the results of the investment after the show ends.” Helena Reckitt Curator, ’Getting Rid of Ourselves’ Onsite (at) OCAD U Gallery, Toronto

Installation view, Onsite [at] OCAD U Gallery, Toronto, 2014. Photo: Melissa Jean Clark

Title: Passive Liquidity Provider Medium: Financial speuclation with exhibition budget Year: 2013

Exhibition history: 2014 Transfert de Fonds, Galerie NaMiMa, Nancy 2014 Getting Rid of Ourselves, Onsite [at] OCAD U, Toronto 2014 Les Forces Occultes, Le 180, Téteghem 2014 600 Mio., Künstlerhaus, Vienna

Selected Bibliography: Lind, Maria. ”Julkalender 18 december”, Kunstkritikk, December 18, 2013 ON A LONG ENOUGH TIMELINE THE SURVIVAL RATE FOR EVERYONE DROPS TO ZERO with Malin Nilsson (magician), Théo Bourgeron (sociologist of finance), Ybodon (computer scientist), Tapio Viitasaari (pianist), Joonas Liesimaa (stage manager)

On a Long Enough Timeline the Survival Rate for Everyone Drops to Zero brings illusionist methodology to short selling. The stage performance introduces the audience to a magic trick performed on the financial markets. And invites the audience to be part of the speculation. In the project short selling and magic are seen beyond their common meanings. The project explores short selling as a financial weapon and magic in the tradition of ‘conspiracy magic’, where magicians make use of their techniques and methods beyond the stage, in the world at large. The financial term ‘short selling’ refers to selling something you do not own. Making a profit of this something – a company, nation, currency or commodity – if and when it looses in value. Success- ful short sellers commonly trade in the narratives of failure, fraud and corruption, since dire findings and rumours are what help realize their short positions. Both short sellers and magicians are in the business of redirecting our perception of reality. They dependent on secrecy, for in order to be successful their methods can not be exposed.

Performance view, Cirkus Cirkör, Stockholm, 2016. Photo: Hanna Ukura. Pre-show press conference, Malin Nilsson predicts the financial news of the week, with baker Pernilla Boströms baking the predictions into a loaf of bread.

Performance view, Cirkus Cirkör, Stockholm, 2016. Photo: Hanna Ukura No: Goldin+Senneby: Date:

Euros: Certiﬁ cate has been invested in a ﬁ nancial short selling campaign* against the company Keryx Biopharmaceuticals Inc. (KERX)of on behalf Investment of: Name: € Signed by the artists

Goldin+Senneby

*A short selling campaign has been set up on your behalf by the artists Goldin+Senneby. Financial “short selling” means selling something you do not own: Making a proﬁ t of this something – a company, nation, currency or commodity – if and when it looses in value. Your investment will be realized within six months following the issuance of this certiﬁ cate, and any revenue will be paid back to you.

Certificate of investment, for magic trick played out on the financial markets.

Title: On a Long Enough Timeline the Survival Rate for Everyone Drops to Zero Medium: Magic show Year: 2015 Duration: 1hr 30min Cast: Malin Nilsson (magician), Joonas Liesimaa/Malcolm Englund (stage manager), Tapio Viitasaari (pianist) Financial research: Théo Bourgeron Trading implementation: Ybodon Commissioned by: Checkpoint Helsinki

Performance history: 2015 On a Long Enough Timeline the Survival Rate for Everyone Drops to Zero, Checkpoint Helsinki 2016 Standard Length of a Miracle, Tensta konsthall c/o Cirkus Cirkör, Stockholm

Bibliography Hacklin, Saara. ”Five Words on Zero Magic by Goldin+Senneby”, seminar presentation, Checkpoint Helsinki Rubin, Birgitta. ”Disputation. Konsten och kapitalet sitter i samma båt”, Dagens Nyheter, May 16, 2016 ZERO MAGIC with Malin Nilsson (magician), Théo Bourgeron (sociologist of finance), Kevin Keener (patent attorney), Johan Hjerpe (designer)

A magician creates illusions, making us see things that don’t exist, that are not really happening. The word magic originates from magush (Persian), meaning “to be able” or “to have power.” In Zero Magic, the magic trick takes place on the financial markets. Goldin+Senneby have infiltrated a secretive hedge fund in the US and recreated its short selling practices (i.e. the practice of selling shares that one doesn’t own). In collaboration with the magician Malin Nilsson and finance sociologist Théo Bourgeron, they have developed a magic trick for the financial markets that has the capacity to undermine the perceived value of a publicly traded company and to profit from this. The magic box contains the props and equipment needed to perform these financial manipula- tions and also historical references to other controversial magic tricks performed offstage, in real life.

US Patent Application: ”Computer Assisted Magic Trick Executed in the Financial Markets ”

Installation view, Stockholm School of Economics, 2016. Photo: Jean-Baptiste Beranger Title: Zero Magic Medium: Magic box Year: 2016 PhD: Zero Magic: Shifting the Valuation Convention

Exhibition history: 2016 Standard Length of a Miracle, Tensta konsthall c/o Stockholm School of Economics, Stockholm 2016 Teesside World Exposition of Art and Technology, mima, Middlesbrough 2016 Survival Kit 8, Latvian Centre for Contemporary Art, Riga

Bibliography Levine, Matt. ”Magic Tricks and Vanishing Directors”, Bloomberg View, Aug 25, 2016 Rubin, Birgitta. ”Disputation. Konsten och kapitalet sitter i samma båt”, Dagens Nyheter, May 16, 2016 STANDARD LENGTH OF A MIRACLE with Pamela Carter (playwright), Malin Nilsson (magician), Ybodon (computer scientist), Anna Heymowska (set designer), Johan Hjerpe (graphic designer)

“The standard length of a miracle is around 15 seconds” says the Swedish magician Malin Nilsson. While performing a whole set of tricks on her audience she deconstructs the notion of magic. “For me, magic means using logical thinking to find little gaps in human perception and exploit them” she reveals. An ex- ploitation of gaps of human perception seems to be the main strategy of the whole project orchestration. Many different stories about speculations, magic and construction of value come together in this ”lecture on magic”. At the same time the main subject of the show stays unmentioned. That which constitutes and unites all the mentioned and unmentioned characters and stories. As language is considered not only to be the instrument to describe facts but also to create them, in a world in which institutions like money, property, technologies, work, are all linguistic institutions that become instruments of production of those same real facts. If “facts are created by speaking them”, as claimed by economist Christian Marazzi, isn’t it language itself, full of gaps in human perception, that is exploited and transformed into a set of magic acts?

Valentinas Klimasauskas Curator, Contemporary Art Centre (CAC), Vilnius

Performance view, Contemporary Art Centre (CAC), Vilnius, 2011. Installation view, Contemporary Art Centre (CAC), Vilnius, 2011.

Title: Standard Length of a Miracle Medium: Lecture on magic Year: 2011

Exhibition history: 2011 Standard Length of a Miracle, CAC, Vilnius (solo show) 2011 The Sandberg Series, Goethe Institut, Amsterdam THE NORDENSKIÖLD MODEL: ACT 1 with Pamela Carter (playwright), Peter Hägglund (managing director, IFL Executive Education), Stefan Marling, Fredrik Meyer and Eva Rexed (actors)

The Nordenskiöld Model departs from a historical figure in whom Swedish colonial history, the development of state financial apparatus and utopian mysticism intersect. Against this backdrop, a set of theatrical stagings confront the contemporary development of mathematical models of speculation and the financial economy’s formation of the market. In 1780 the mineralogist August Nordenskiöld was secretly employed by king Gustav III to pursue alchemical research. For several years he lived a double life. Officially he was said to be working as a pro- spector in the field but in reality he was engaged in attempts to produce gold by alchemical means at the Drottningholm castle. The work itself also had dual agendas. In the eyes of the king, the work was being carried out with the aim of boosting state finances for the war against Russia. However Nordenskiöld himself was a utopian idealist whose ultimate goal was to make gold worthless and thereby abolish the “tyranny of money”. For Nordenskiöld, an economy based on money created a disparity between labour and capital, a disparity comparable to the relationship between reality and illusion. His longing for a new society and his faith in Swedenborgian ideas led him subsequently to Sierra Leone where he was employed by a philanth- ropic colonial agency to realize his utopian vision. The Nordenskiöld Model takes August Nordenskiöld as an ”artist figure”, at once implicated with power (the sovereign) and using that position as place of subversion. The project sets out to (re)enact his anarcho-alchemical scheme on the financial markets of today. In Act 1 the audience is invited to a series of open rehearsals taking place a IFL, an executive education institute at the Stockholm School of Economics. Scene 1 inaugurates August Nordenskiöld’s alchemy furnace from the 1780’s at IFL (on loan from the Nordic Museum). The scene also includes a lecture by Peter Hägglund, Managing Director of IFL, on financial models and performativity. Scene 2 is a guided bus tour to Nasdaq OMX’s data centre in Lunda industrial park. Characters in this scene include one actor, two artists, 48 fellow travelers and one security guard. Scene 3 is a model box presentation and staged discussion with the artists.

Entrance, IFL Executive Education, Stockholm. Scene 1: 300 Years of Speculative Realities, performance view, IFL Executive Education, 2010.

Scene 2: A Story of Micro-Second Trading in Twenty Minutes, performance view, Lunda Industrial Park, 2010. Scene 3: Plan for a Speculation, performance view, IFL Executive Education, 2010.

Title: The Nordenskiöld Model: Act 1 Medium: Open rehearsals Year: 2010

Exhibition history: 2010 The Nordenskiöld Model: Act 1, Konsthall C, Stockholm (solo show)

Publication: Plan for a Speculation, Konsthall C, 2010 (Out of print)

Selected Bibliography: Ambjörnsson, Ronny. “Därför borde S lyssna på 1700-talets utopister”, Dagens Nyheter, Feb 2, 2011 Ericsson, Lars O. “Finansmodeller en egen konstart”, Svenska Dagbladet Dec 10, 2010 THE TEMPERATURE OF SPECULATION with MetNext (weather risk management), Brian Rotman (mathematician/philosopher), Yann Lejolivet (bank director)

A ”thermometer” measuring the price of the outdoor temperature according to a weather derivative evaluation formula. Installed in a bank lobby, with opening speech written by Brian Rotman and read by the bank director.

Installation view, Crédit Mutuel de Bretagne, Rennes, 2010

Title: The Temperature of Speculation Medium: Thermometer measuring the price of the temperature Year: 2010

Exhibition history: 2010 Ce qui vient, Les Ateliers de Rennes

Selected Bibliography: Lechner, Marie. ”Face au Rennes de la terreur” Liberation, May 26, 2010 UNTITLED (AIR CONDITION) with Pamela Carter (Playwright)

Untitled (Air Condition) consists of an air-conditioned room with a voice over, reflecting on contemporary economies of temperature control. The work can be understood in reference to The Air-Conditioning Show by conceptual artist group Art & Language from 1972, which exhibited the air itself in otherwise empty rooms.

VOICE OVER AUDIO: http://www.goldinsenneby.com/UntitledAirCondition.mp3

Title: ’Untitled (air condition)’ Medium: Air-conditioned room with voice-over (11:47 min loop) Year: 2010

Exhibition history: 2010 Bucharest Biennale 4 HEADLESS (2007 - 2015) HEADLESS A NOVEL BY K. D.

When workaday author John Barlow is asked to ghostwrite a novel about secretive tax havens, he assumes the job will be straightforward. Then he learns that his employers, Swedish conceptual artist duo Goldin+Senneby, want him to investigate Headless Ltd, a shadowy company with possible links to French philosophy and human sacrifice. Barlow travels to Nassau, the mecca of offshore finance, to unco- ver the mystery of Headless. Soon he is consumed by the dark world covert capitalism and secret societies and his probing becomes desperate. The more he grasps at the threads of the labyrinthe plot, the closer he comes to madness.

Published by: Triple Canopy (New York), Tensta Konsthall (Stockholm), Sternberg Press (Berlin), 2015

Introduction by Alexander Provan: http://canopycanopycanopy.com/issues/18/contents/headless_commercial_thriller

Selected Bibliography: Borgonjon, David. “The Art of Conspiracy”, Screen, 1 August 2015 Chavagneux, Christian. “Headless”, Alternatives Economiques No 348, July 2015 Clarke, Rosie. “The Parody of Sovereignty”, 3:AM Magazine, 10 April 2015 Diehl, Travis. ” “Plotting a Post-Crash Potboiler” X-TRA, Fall 2015, Vol 18 No 1, Genç, Kaya. ”A Novel Without a Head”, The Believer, 9 November 2015 Metzler, Rachel. “The Reality TV Novel”, Art News, 4 May 2015 Morse, Erik. “Headless: A Novel”, Art Review, Summer 2015, p. 156 Raden, Justin. “Headless”, Entropy, 18 March 2015 Rana, Matthew. “Trickster Makes Offshore”, Kunstkritikk, 3 June 2015 Ravini, Sinziana. “K.D.: Headless”, Dagens Nyheter, 6 August 2015 HEADLESS. FROM THE PUBLIC RECORD with Angus Cameron (economic geographer), K.D. (fictional author), Kim Einarsson (curator/writer), Anna Heymowska (set designer), Marcus Lindeen (director), Eva Rexed (actor)

The project Headless investigates a company called Headless Ltd, registered in the Bahamas. Goldin+Senneby make use of varying theatrical gestures to explore strategies of withdrawal used in the world of offshore finance. The project creates a complex structure in which the multiple voices of actors and agents stand forth while the artists choose a position of absence.

Headless. From the Public Record was originally produced for Index - The Swedish Contemporary Art Foundation in 2009 and is one of four large scale installations from the Headless project. The opening night featured an ”artist talk” in a set design by Anna Heymowska. Angus Cameron, speaking in the artists’ place, discusses the legal, philosophical and spatial ideas of offshore with curator Kim Einarsson. Cameron, a human geographer and academic state theorist, is asked to reflect on the speculative relationship between offshore company Headless Ltd and Georges Bataille’s secret society Acéphale as proposed by the project. The talk was recorded during the opening night and the recorded conversation together with the PowerPoint remain in the installation.

PREVIEW LINK (POWER POINT WITH AUDIO): http://vimeo.com/113690576

Password: headlessindexppt

Installation view, Index, Stockholm, 2009 Performance view, Index, Stockholm, 2009

Installation view, Index, Stockholm, 2009 Installation view, Nottingham Contemporary, 2010

Title: Headless. From the Public record Medium: Installation including set design and audio-recorded conversation with PowerPoint. Year: 2009

Exhibition history: 2009 Headless. From the Public Record, Index, Stockholm (solo show) 2010 Uneven Geographies, Nottingham Contemporary 2011 Abstract Possible, Museo Tamayo, Mexico City 2015 On Being in the Middle, Galerie Hubert Winter, Vienna 2016 Les Incessants, Villa du Parc, Annemasse 2016 The Eighth Climate, 11th Gwangju Biennale, Gwangju

Selected Bibliography: Demos, T.J. “Openings: Goldin+Senneby”, Artforum, March 2011, pp. 252-254 Demos, T.J. The Migrant Image, Duke University Press, 2013, pp. 163-168 Hamilton Faris, Jaimey. Uncommon Goods, Intellect Books, 2013, pp. 117-124 Manen, Martí. ”Saber no estar”, A*DESK, Magazine No 51, 6 December 2009 Marsh, Nicky. “Review: Headless. From the Public Record”, Wasafiri 66, Summer 2011, pp. 92-94 Provan, Alexander. “Headless Commercial Thriller”, Triple Canopy, Issue 18, 2013 Ravini, Sinziana. “Monstruöst roligt projekt”, Dagens Nyheter, Nov 26, 2009 Rosengaard, Mikkel. ”Offshore Art”, Art21 Magazine, March/April 2015 THE DECAPITATION OF MONEY with Angus Cameron (economic geographer), K.D. (fictional author), Anna Heymowska (set designer), Johan Hjerpe (graphic designer) , Kerwin Rolland (sound designer)

In the exhibition, you are standing at the heart of a bicephalous space, reflecting two historical events from the late 1930's and early 50's. In one of these spaces, you find yourself reading a map of the Marly Forest where Georges Bataille's secret society, "Acéphale", was meeting around 1937 and notably celebrating Louis XVI's regicide. A few years later, Georges Bataille wrote La Part maudite (1949). In this essay on economy, he describes a society of abundance and eternal excess where in return potlatch techniques and sacrifice were necessary forms of luxurious consumption. Nearly at the same time, in the early 1950's at the very beginning of the Cold War, you are witnessing the emergence of Eurodollar, when Soviet and Chinese banks deposited dollars in Europe, in Paris at the BCEN (EUROBANK), known today as VTB Bank. Thus, the Dollar escaped the US financial, territorial jurisdiction and the very nature of money changed from a symbolic value to a virtual one. Money entered a new space of exteriority, beyond the control of the sovereign state. Money was decapitated. These are facts. Facts that are deeply entangled in a fictional narrative entitled Headless, commissioned by artist duo Goldin+Senneby since 2007. In this detective story, involving a murder (by decapitation again), the narrator travels to the Bahamas looking for the offshore company called 'Headless Ltd'. Headless is published as a ghost written serial novel based on raw material sent by the artists – correspondences, dossiers, tapes – and by the different artistic presentations of the project since 2007 in the form of conferences, lectures, videos or exhibitions. In The Decapitation of Money, Goldin+Senneby underline a tenuous but precise speculation: Is the emergence of the Eurodollar and the later offshore finance the exact void where money disappeared, performing a contemporary radical consumption announced by Bataille in La Part maudite? And if so, can 'Headless Ltd' be a contemporary incarnation of Bataille's secret society of the same name, "Acéphale"? Or are they mere coincidences?

Sandra Terdjman Director, Kadist Art Foundation

Installation view, Kadist Art Foundation, Paris, 2010 Installation view, Kadist Art Foundation, Paris, 2010

Performance view, Marly Forest, Paris, 2010 Installation view, Manifesta 9, Genk, 2012

Title: The Decapitation of Money Medium: Installation including set design, audio recording, publication. Year: 2010 Collection: Kadist Art Foundation

Audio recording: http://goldinsenneby.com/Decapitation-MarlyForest.mp3

Exhibition history: 2010 The Decapitation of Money, Kadist Art Foundation, Paris, (solo show) 2010 Abstract Possible: The Trailer, Malmö Konsthall, Malmö 2011 Gone to Croatan, HMKV, Dortmund 2011 Secret societies, Schirn Kunsthalle, Frankfurt 2011 Secret societies, CAPC, Bordeaux 2012 Manifesta 9: The Deep of the Modern, Genk 2013 The Magic of the State, Beirut, Cairo 2016 Standard Length of a Miracle, Tensta konsthall c/o Finansinspektionen, Stockholm

Selected Bibliography: Chinen, Lucy. ”Goldin+Senneby: Headless”, LEAP 38, April, 2016, pp. 26-29 Demos, T.J. ”Openings: Goldin+Senneby, Art Forum, March 2011, pp. 252-254 Fiduccia, Joanna. ”Goldin+Senneby, Kadist Art Foundation, Paris”, Art Forum, October 2010, pp.298-290 Gray, Margaret. ”The Decapitation of Money”, This is Tomorrow, July 2010 Lebovici, Elisabeth. ”A la Recherche du Pognon Perdu...”, Le Beau Vice, June 2010 Lechner, Marie. ”La Finance, monstre sans tète”, Liberation, September 2010, pp. XIV-XV Muracciole, Marie. ”Décapitation of Money, Kadist Art Foundation, ArtPress, September 2010, p. 88 Teets, Jennifer. ”Goldin+Senneby at Kadist Art Faoundation, Paris”, Art Agenda, June 2010 EACH THING SEEN IS THE PARODY OF ANOTHER, OR IS THE SAME THING IN A DECEPTIVE FORM with Angus Cameron (economic geographer), K.D. (fictional author), Anna Heymowska (set designer), Johan Hjerpe (graphic designer), Kerwin Rolland (sound designer)

”Each thing seen…” stages the last chapter in the novel Headless by K. D. The chapter is acted out as a scene in London Zoo, in the autumn of 2010, where economic geographer Angus Cameron gives a talk on behalf of Goldin+Senneby, speculating in the possible connections between a handful of monkeys on the Rock of Gibraltar and national sovereignty.

VIDEO PREVIEW: www.youtube.com/watch?v=0yyZDjXvCyc

Performance view, London Zoo, 2010 Installation view, Moderna Museet, Stockholm, 2010

Installation view, Moderna Museet, Stockholm, 2010 Installation view, Moderna Museet, Stockholm, 2010

Title: Each thing seen is the parody of another, or is the same thing in a deceptive form Medium: Set design, recorded lecture, publication Year: 2010 Collection: Moderna Museet (MOM/2010/157)

Audio recording: http://goldinsenneby.com/EachThingSeen-LondonZoo.mp3

Exhibition history: 2010 The Moderna Exhibition, Moderna Museet, Stockholm

Bibliography: Burnett, D. Graham, ”In Lies Begin Responsibilities”, More real? Art in the Age of Truthiness, 2012 Dickinson, J., Cameron, A., Smith, N. (Eds). Body/State, Ashgate, 2013, pp. 257-272 Provan, Alexander, ”Headless Commercial Thriller”, Triple Canopy, Issue 18, 2013 Ravini, Sinziana, ”Modernautställningen 2010”, Dagens Nyheter, 5 October, 2010 HEADLESS AT REGUS with Kate Cooper, Richard John Jones (fimmakers)

This work is staged as a closed screening of the documentary ‘Looking for Headless’ in a Regus Business Center meeting room.

In the documentary ‘Looking for Headless’ filmmakers Kate Cooper and Richard John Jones interview businessmen and women, academics, private investigators and fictionalized characters that seem to have some relationship to the shadowy company Headless Ltd. As they travel through the geographic spaces of London, Gibraltar and the Bahamas, every turn in the investigation is an opportunity to invent the next step in their inquiry.

PREVIEW DOCUMENTARY: https://vimeo.com/114005012 password: headlessregus

Installation view, Broadgate Tower, London, 2010 Installation view, Brussels City Centre, 2010

Title: Headless at Regus Medium: Right to screen documentary at Regus office meeting room according to instructions Year: 2010

Exhibition history: 2010 Headless at Regus, Kadist, Paris 2010 Hydrarchy, Gasworks, London 2011 Intermission Project, Western Front, Vancouver 2011 Power to the People, ACCA, Melbourne 2011 Fiction, Narrative, History, D+T Projects, Brussels 2011 Homo Economicus, MD72, Berlin 2012 Abstract Possible, Eastside Projects, Birmingham 2013 The Book Lovers, EFA Project Space, New York 2013 Sindrome, La Capella, Barcelona 2013 Maintenance Required, The Kitchen, New York 2015 Sources Go Dark, Futura, Prague

Selected Bibliography: Demos T.J. ”Openings: Goldin+Senneby”, Artforum, March 2011 Provan, Alexander. ”Headless Commercial Thriller”, Triple Canopy, Issue 18, 2013 GONE OFFSHORE with John Barlow (writer), Anna Heymowska (set designer), Johan Hjerpe & Anders Jandér (graphic designers)

On 26 March 2008 writer John Barlow travels to the Bahamas in search of Headless Ltd. During a 10 day trip he writes a travel journal about his findings and/or lack of findings. Beyond the specific search for Headless Ltd, John Barlow’s travel to the Bahamas can be understood as a physical encounter with the fictitious space of the offshore jurisdiction. Upon his return a series of conversations are staged with John Barlow being interviewed about his findings in the Bahamas.

Gone Offshore takes the form of a staged discussion in a set designed by Anna Heymowska and accompanied by a travel journal publication.

TRAVELBLOG: http://www.travelblog.org/Bloggers/johnbarlow/

PREVIEW VIDEO ”Gone Offshore: John Barlow in conversation with Övül Durmusoglu”: http://www.youtube.com/watch?v=2rCsKUa9gYw

Performance view, Galleria d´Arte Moderna e Contemporanea di Bergamo, 2008 Travel blog screenshot, Travel Journal by John Barlow, 2008

Installation view (detail, travel journal), Henie Onstad Kunstsenter, Oslo, 2008 Installation view, Storey Gallery, Lancaster, 2010

Title: Gone Offshore Medium: Installation with video, booklet, set design Year: 2008 Edition: Unique editions from GAMeC (in conversation with Övül Durmusoglu), The Drawing Room (in conversation with Olivia Plender), Henie Onstad Kunstsenter (in conversation with Tone Hansen)

Exhibition history: 2008 Data Recovery, GAMeC, Bergamo 2008 Reality Effects, Henie Onstad Kunstsenter, Oslo 2008 TINA, The Drawing Room, London 2009 TINA, Hatton Gallery, Newcastle 2010 TINA, Storey Gallery, Lancaster

Selected Bibliography: Chinen, Lucy. ”Goldin+Senneby: Headless”, LEAP 38, April, 2016, pp. 26-29 Demos T.J. ”Openings: Goldin+Senneby”, Artforum, March 2011, pp. 252-254 Obrist, Hans Ulrich. Mapping it Out, Thames & Hudson, 2014, p. 76 Ørslien, Line Ruud. ”Et virkelighetsspill?”, Billedkunst Magasin No 5, September 2008 Wilson, Catherine. ”Review: There is No Alternative (TINA)”, a-n Magazine, December 2008 GONE OFFSHORE: WALKING TOUR with Rachel Kolsky & Caroline Dale (city guides)

Middlesex Street marks the shift from Tower Hamlets to the City of London. Sometimes called the “Wall of Fire”, the border between two economic realities will be host to Goldin+Senneby’s event. From this point, a guide will initiate a movement towards fictitious space, narrating the legal construction of offshore jurisdictions. As part of his collaboration with the two artists, Barlow travels to the Bahamas in search of the physical manifestations of Headless Ltd and, in a wider sense, the material staging of the fictitious place – or non- place – of the offshore incorporation. For John Barlow Gone Offshore, two city guides lead the public into Barlow’s travels across the Bahamas and his possible findings. Mediating and contextualising the performative research in the offshore, the event proposes a staged inquiry into the undisclosable.

Anna Colin Director, Gasworks, London

Performance view, walking tour, London 2008. Photo: Assunta Ruocco

Title: Gone Offshore: A walking tour to the makig of offshore jurisdictions Medium: Walking tour Year: 2008

Exhibition history: 2008 Disclosures, Gasworks, London 2008 The Street, Canal, London HEADLESS READING ROOM with K.D (fictional author), Kim Einarsson (curator/editor), Anna Heymowska (set designer), Johan Hjerpe & Filip Tydén (graphic designers)

Headless Reading Room presents the making of docu-fictional novel Headless by K. D. The installation is structured according to eight chapters, each detailing one element of the making of the novel: Author, Mystery, Murder, Protagonist, Antagonist, The Artists, Red Herring, Epilogue. The work combines a collection of documents related to the search for offshore company Headless Ltd with a reflection on the process of writing a novel about this search.

Installation view, The Power Plant, Toronto, 2008 Installation view, The Power Plant, Toronto, 2008 Installation view, John Hansard Gallery, Southampton,2014

Title: Headless Reading Room Medium: Reading room installation including blue walls, shelves with documents, stools, eight posters (50x65) and eight vinyl quotes Year: 2008

Exhibition history: 2008 Goldin+Senneby: Headless, The Power Plant, Toronto (solo show) 2011 Power to the People, ACCA, Melbourne 2014 Show Me the Money, Northern Gallery for Contemporary Art, Sunderland 2014 Show Me the Money, John Hansard Gallery, Southampton

Selected Bibliography: Burke, Gregory (Ed.), Goldin+Senneby: Headless, The Power Plant, Toronto, 2009 (catalogue) Connel, Liam, ”Globalizm and Transnationalism”, The Routledge Companion to Experimental Literature, 2012, pp. 233-236 Demos, T.J., ”Openings: Goldin+Senneby, Artforum, March 2011, pp. 252-254 Droitcur, Brian. ”Interview with Goldin+Senneby”, Rhizome.org, Feb 4, 2009 Goddard, Peter. ” These head games are contagious”, The Star, 17 Jan 2009 Gopnik, Blake. ”Critic´s Pick: Goldin+Senneby. Artforum.com, Jan 30, 2009 Hamilton Faris, Jaimey. Uncommon Goods, Intellect Books, 2013, pp.117-124 HEADLESS MINDMAP with Kim Einarsson (curator/editor), Johan Hjerpe & Filip Tydén (graphic designers)

Graphic map of willing and unwilling participants in the Headless project up until 2008.

MAP PREVIEW: http://www.alphabetprime.org/PDFs/AlphabetPrimeNo1_Insert.pdf

Installation view, The Power Plant, Toronto, 2008

Title: Headless Mindmap Medium: Print (700x245 cm) Year: 2008

Exhibition history: 2008 Goldin+Senneby: Headless, The Power Plant, Toronto (solo show)

Selected Bibliography: Burke, Gregory (Ed.), Goldin+Senneby: Headless, The Power Plant, Toronto, 2009 (catalogue) Connel, Liam, ”Globalizm and Transnationalism”, The Routledge Companion to Experimental Literature, 2012, pp. 233-236 Provan, Alexander. ”Headless Commercial Thriller”, Triple Canopy, Issue 18, 2013 Kollak, Ginny. ”True Lies, Tired Hedonists”, Alphabet Prime, Fall 2009 NASSAU 6AM with Johan Hjerpe (graphic designer)

Nassau 6am was produced for Sovereign Art Award, a copper etching depicting a headless man jogging on the beach. The Sovereign Group is supposedly the company that registered Headless Ltd. And the Sovereign Art Auction (where Nassau 6am, ed 1 was sold) features in the novel Headless by K. D.

Nassau 6am, copper etching, 50x70 cm, 2008

Title: Nassau 6am Medium: Copper etching, 50x70 cm Year: 2008

Exhibition history: 2008 Sovereign Art Award, Somerset House, London 2008 Goldin+Senneby: Headless, The Power Plant, Toronto (solo show) 2016 Nervous Systems, Haus der Kulturen der Welt, Berlin

Selected bibliography: Chinen, Lucy. ”Goldin+Senneby: Headless”, LEAP 38, April, 2016, pp. 26-29 Lechner, Marie. ”La Finance, monstre sans tète”, Liberation, Le Mag 18-19 Sep 2010, pp. XIV-XV Provan, Alexander. ”Headless Commercial Thriller”, Triple Canopy, Issue 18, 2013 BOOK READING WITH K. D.

Fictional author K. D. reading from her book in progress. Sometimes in conversation with literary cri- tics. The role of the author is perforemd by a local actor.

Performance view, 28th Bienal de São Paulo, 2008. Photo: Autumn Sonnichsen

Title: Book reading with K. D. Medium: Public book reading or interview with fictional author K. D. Year: 2007 - 2009

Exhibition history: 2007 Book reading, UKS, Oslo 2007 Book reading, Art Academy Library, Stockholm 2007 Book reading, Big Family Business, Istanbul 2008 Terms of Use, Centro Cultural Montehermoso, Vitoria-Gasteiz 2008 28th Bienal de Sao Paulo 2009 Voice Over, Iaspis in Venice 2009 Is a book, is a shop, is a show, LCCA, Riga

Selected Bibliography: Burke, Gregory (Ed.), Goldin+Senneby: Headless, The Power Plant, Toronto, 2009 (catalogue) Connel, Liam, ”Globalizm and Transnationalism”, The Routledge Companion to Experimental Literature, 2012, pp. 233-236 Demos, T.J., ”Openings: Goldin+Senneby, Artforum, March 2011, pp. 252-254 Droitcur, Brian. ”Interview with Goldin+Senneby”, Rhizome.org, Feb 4, 2009 Einarsson, Kim. ”Nameless Acting”, Geist, no 11, 12, 14, 2007-08, pp. 105-117 SPOKESPERSON with Angus Cameron (economic geographer)

In all artist talks, panel discussions, lectures and media interviews related to Headless, Goldin+Senneby is represented by a spokesperson. Most notably economic geographer Angus Cameron has acted as the artist spokesperson since 2008.

Spokesperson interviewed by Hans-Ulrich Obrist (2010): http://vimeo.com/27256745

Panel discussion, The Drawing Room, London, 2008

Title: Spokesperson Medium: Angus Cameron a.o. Year: 2007 -

Selected talks: 2008 Panel discussion, TINA, The Drawing Room, London (audio) 2008 ”Les artistes 100 têtes”, The Power Plant, Toronto (video) 2010 Interview with Hans-Ulrich Obrist, Map Marathon, Serpentine, London (video) 2010 ”The Headless Conference”, New Museum, New York (video) 2011 Panel discussion, Abstract Possible, Museo Tamayo, Mexico City (video) 2011 ”Looking for Headless in the Rialto”, ACCA, Melbourne 2012 ”the art of not being (t)here”, CIC & Townhouse Gallery, Cairo 2013 ”The Fragmented Self”, Waag Society, Amsterdam 2013 ”Going to Pieces”, ICA, London 2013 ”Being Nothing”, The Book Lovers, Cricoteka, Krakow (video)

Selected Bibliography: Cameron, Angus.“Modelling Headless”, Journal of Critical Globalisation Studies, Issue 7, 2014, pp. 102-121 Einarsson, Kim. ”Headless. To the Public Record”, Goldin+Senneby: Headless, The Power Plant, Toronto, 2009, pp. 35-41 Einarsson, Kim. ”Nameless Acting”, Geist, no 11, 12, 14, 2007-08, pp. 105-117 Jump, Paul. “Headless maybe, but not mindless”, Times Higher Education, January 6, 2011 LOT 36: FICTION ON AUCTION

In Fiction on Auction, the site of the auction was used to stage a fiction where the right to appear as a character in the novel Headless by K. D. was offered to the highest bidder. The name of the successful bidder as registered for the auction forms the name or identity of a character appearing in the novel.

CHRISTIE’S FEATURE PREVIEW: www.christies.com/features/2010-march-goldin-senneby-fiction-on-auction-478-3.aspx

CHRISTIE’S LOT DESCRIPTION: www.christies.com/LotFinder/lot_details.aspx?intObjectID=5294811

Screenshot view, Christies.com, 2010

Title: Lot 36: Fiction on Auction Medium: Sale of the right to appear as a named character in the novel Headless Year: 2010 Commissioned by: Offer & Exchange: Sites of Negotiation in Contemporary Art, Electra, London

Selected bibliography: Hamilton Faris, Jaimey. Uncommon Goods, Intellect Books, 2013, pp. 117-124 Lind, Maria & Velthuis, Olav (Eds.) Contemporary Art and its Commercial Markets, 2012 Morisset, Vanessa. “Participation for sale!”, Esse, No 73, Autumn 2011, pp. 30-35 PLEIN AIR (2007 / 2011 / 2015) A3: THE PLOT with Pamela Carter (playwright), Johan Hjerpe (designer), Moa Ott, (carpenter), Nathalie Hallberg (scenic painter)

”A3 The Plot” is an act of theatrical property development. Goldin+Senneby have acquired a plot of land in Kent, England, and commissioned playwright Pamela Carter to write an ”ownership drama”. Carter’s script dramatizes the material impact of shifting ownership on this plot. The work includes a stage model of the plot in scale 1:10. Sale of the artwork also involves re-sale of the land, thereby adding another scene to the ownership drama.

LOCATION: Plot A3, Basing Farm, Cowden, Kent, 2015 https://www.google.com/maps/d/viewer?mid=ztL59YtvWUf0.kmhplFc1oMcc Installation view, Prince Eugen’s Waldemarsudde, Stockholm, 2016. Photo: Jean-Baptiste Beranger.

Excerpt from script: ”A3: The Plot” by Pamela Carter

The stage is bare except for an old fence post lying in the middle somewhere. Two men enter: one is in his 30s, the other in his 40s and walks with the aid of a stick. They are carrying land surveying equipment: a tripod, a theodolite, a laser rod etc. They start to make measurements. The line of the laser falls across the fence post and causes some discussion. - Move it on to our side. - Then we’ll be liable for its upkeep. And damages should any harm come to a member of the public as a result of its disrepair. Look … it’s just rubbish. - That’s an antique of the future. - Half of it belongs to our neighbour. - Can you see any neighbours? They move the fence post on to one side of the laser line and continue measuring an oblong 8 metres by 10 metres, marking the boundary with paint. - That’s the first time I’ve seen you paint in years. Once they’ve finished they spread out a blanket and lie back to enjoy the sun, the blue sky, and ruminate on the nature of land ownership. As the light goes down they drift off to sleep and dream.

Title: A3 The Plot Medium: Theatrical property development Year: 2015 Download full script: ”A3: The Plot” by Pamela Carter Commissioned by: Landed (Freeman’s Wood). Storey G2, Lancaster

Exhibition history: 2016 Standard Length of a Miracle, Tensta konsthall c/o Prince Eugen’s Waldemarsudde, Stockholm SHIFTING GROUND

with Simon Lancaster (speechwriter), Charlotte Westenra (director), Tom McKay (actor)

Constituting almost half of EU’s budget, agricultural subsidies have long been (in)famous for their production of excess; mountains of butter and lakes of wine. Today the grounds are shifting. A new agricultural paradigm is taking form in which subsidies have been decoupled from production. Farmers no longer receive support to (over)produce, but to reinvent themselves as environmental entrepreneurs and guardians of the landscape. No longer asked to provide food, but to provide open fields. Goldin+Senneby proposes that these reforms have something to tell us about the fundamental (power)relations between funder and funded, as applies to the entire field of cultural subsidies, not only agri- culture. The drama explored, plays out in the space between the image of landscape and the usage of land. But in the tension between policy maker and practitioner, what stands at stake is as much the survival of the artist as that of the farmer. The work takes the form of a 20 min scripted speech, , written by speechwriter Simon Lancaster, directed by Charlotte Westenra and first performed by Tom McKay.

Download Shifting Ground script as PDF: http://www.goldinsenneby.com/shiftingground.pdf

Performance view, Stockholms Stadsteater, 2009

Title: Shifting Ground Medium: Scripted speech (20 min) Year: 2009 Commissioned by: Almost Real, European Cultural Foundation

Performances: 2009 Mountains of Butter, Lakes of Wine, symposium at Stockholms Stadsteater 2012 Going Public: Telling it as it is?, ENPAP, Consonni, Bilbao NOT APPROVED with Swedish County Administrative Boards

”Not Approved: Field Inspection Photographs of Rejected Landscape Features” consists of thirty-two photographs taken by Swedish bureaucrats in order to evaluate whether the landscape elements meet the EU subsidy standards. This is a selection of thirty-two landscapes that did not meet those standards.

Installation view, Galerie für Zeitgenössische Kunst, Leipzig, 2011 Not Approved: Field Islet, Inspection photo: Emma Lenmo, County Administrative Board of Stockholm

Not Approved: Old farming road, Inspection photo: Emma Lenmo, County Administrative Board of Stockholm Installation view, D+T Gallery, Brussels, 2012

Title: Not Approved: Field inspection photographs of rejected landscape features Medium: Collection of field inspection photographs Year: 2009-2011

Exhibition history: 2011 Scenarios about Europe, GfZK, Leipzig 2012 West of East, Gallery Y, Minsk 2012 The Forfeiture of Money, D+T Gallery, Brussels 2016 Standard Length of a Miracle, Tensta konsthall c/o Prince Eugen’s Waldemarsudde, Stockholm AFTER MICROSOFT

After Microsoft revisits the site for the default wallpaper in Windows XP, a green hill with blue sky and cumulus clouds which became the most distributed image ever.

PREVIEW LINK (image with voice over): http://vimeo.com/118432664

Password: bliss

After Microsoft, Photo: Goldin+Senneby, 2006 Installation view, Galeria Vermelho, Sao Paulo, 2008

Title: After Microsoft Medium: Projected image and voice-over Year: 2006-2007

Exhibition history: 2007 After Microsoft, Royal Institute of Art, Stockholm 2007 Paris was yesterday, La Vitrine, Paris 2008 Looks Conceptual, Galeria Vermelho, Sao Paulo 2008 My Computer, 300m3 Art Space, Gothenburg 2009 Flexible Aura, Brain Factory, Seoul 2011 After Microsoft: A Response by Rick Prelinger, Kadist, San Francisco 2013 Over the Valley, Steve Turner Contemporary, Los Angeles 2016 Standard Length of a Miracle, Tensta konsthall c/o Prince Eugen’s Waldemarsudde, Stockholm

Selected Bibliography: Droitcur, Brian. ”Interview with Goldin+Senneby”, Rhizome.org, Feb 4, 2009 Jansson, Mathias. ”Världens mesta skrivbordsbild”, Computer Sweden, April 14, 2007 Myers-Szupinska, Julian D. “After the Production of Space”, Critical Landscapes, UC Press, 2015 Kay, Jean. ”Interview with Lucy Chinen”, aqnb, July 13, 2013 Tuazon, Jim. ”The unretouched curves of WinXP’s most famous wallpaper”, GMA News, Aug 20, 2011 THE PORT (2005 - 2006) THE PORT with Tor Lindstrand (architect)

The Port is a community driven island inside the online 3D world Second Life. The island is open and ac- cessible to Second Life’s 175 000 (Aug 2005) inhabitants and potentially to all Internet users. One could argue that 3D modelled social platforms, such as Second Life, establish a new type of spa- tiality – a meeting place within digital networks. Therefore, geographically speaking, The Port exists in a network of many locations, but is also a location in and of itself. The Port was initiated by Goldin+Senneby in 2004 and has developed in collaboration with architect Tor Lindstrand. Today, The Port community consists of an international network of over 50 members. We have established The Port as an open WIKI-like structure where anyone can freely initiate projects. Using The Port as a point of departure we are pursuing our own series of investigations. We have been looking at how value is created and communicated in an immaterial sphere, how one can locate complex collaborative production and build relations of trust in a virtual environment, and how community building can establish a sense of autonomy without imposing an internal culture of control.

Performance view, Humlegården, Stockholm, 2005

Title: The Port inauguration Medium: Performance broadcast live from The Port Year: 2005

Performances: 2005 The Port inauguration, Humlegården, Stockholm 2006 No hay banda, Tensta Konsthall, Stockholm

Selected Bibliography: Cadioli, Marco. “The Port: Comunita´ di Artisti in Second Life”, Digimag #11 Feb 2006 Ejiksson, Andjeas, Mangione, Oscar & Ehlin, Fredrik. “The Port”, Geist Nr. 8 Albedos April 2006 Hernadi, Alexandra. “Konstnärer bygger sin egen ö i cyberrymden”, Dagens Nyheter, December 28, 2005 FLACK ATTACK

Flack Attack is a magazine coming out of The Port, a community-driven space inside the online 3D world Second Life. Flack Attack explores a distributed model for magazine production. The workflow starts with a wiki, a web page allowing for open and continual modification. Articles, images and comments contributed to the wiki are discussed and edited at open editorial meetings at The Port. The more you engage, the more you are able to influence the form and content of the magazine. The first issue of Flack Attack was produced in December 2005. Editorial meetings were held at The Port three times a week and the production process was continually documented at Whitney’s Artport. The first issue is available as PDF, virtual Second Life edition and as printed magazine on demand. The theme of the first issue is Autonomy: Autonomy as a complex concept in any governed situation. What does it mean to be autonomous within predefined social codes? Does the notion of autonomy con- tradict a common language and shared references? In the specific case of online worlds the challenge is readily illustrated by the fact that all interaction takes place inside someone else’s programmed code. But the same basic dilemma can be applied to any institution we find ourselves in, be it a nation, a family or an economy.

Issue #1 Flack Attack on Autonomy Download PDF: http://www.flackattack.org/Prod/pdf/Flack_Attack_Autonomy.pdf Order Print-On-Demand: http://www.flackattack.org/Prod/order.htm

Performance views, Flack Attack editorial office, The Port, Second Life, 2005-2006 Reading Flack Attack, Second Life edition, 2006

Title: Flack Attack Medium: Collaborative magazine production coming out of The Port Year: 2005-2006 Produced for: Artport, Whitney Museum of American Art

Exhibition history: 2005 Artport, Whitney Museum of American Art, online 2006 Travelling Magazine Table, IASPIS, Stockholm

Selected Bibliography: Demos, T.J., “Openings: Goldin+Senneby”, Art Forum, March 2011, pp. 252-254 Droitcour, Brian. “Interview with Goldin+Senneby”, Rhizome.org, Feb 4, 2009 Hamilton Faris, Jaimey. Uncommon Goods, Intellect Books, 2013, pp. 117-124 OBJECTS OF VIRTUAL DESIRE

This project explores the value of immaterial production in a virtual world, and if and how this can be transferred into an economy of material production. We have collected a series of immaterial objects produced and owned by inhabitants in the online world Second Life. The objects have been chosen based on their sentimental value for the avatar (a person’s virtual identity) who made or owned them. Copies of these objects were acquired, along with their owner’s personal story. Three of these objects have been reproduced in physical form. They were exhibited at Bergen Kunstall in 2005 and at Galeria Vermelho, Sao Paulo, in 2008, together with interviews with the original (avatar) owners. Further material reproductions are offered on demand.

Objects of Virtual Desire: Cubey Terra’s Penguin Balls, installation view, Bergen Kunsthall, 2005 Objects of Virtual Desire: Gia Eldritch’s Love Orb, installation view, Galeria Vermelho, Sao Paulo, 2008 Objects of Virtual Desire: Jade Lily’s <3> Choker, installation view, Bergen Kunsthall, 2005

Title: Objects of Virtual Desire Medium (Cubey Terra’s Penguin Balls): Inflatable PVC balls (200cm diameter), poster Medium (Gia Eldritch’s Love Orb): Wooden base with rotating photo-cube inside glass sphere Medium (Jade Lily’s <3> Choker): Choker in oxidated silver with 63 spinels and green perspex, poster Year: 2005

Exhibition history: 2005 Game Dump, Bergen Kunsthall, Bergen 2008 Looks Conceptual, Galeria Vermelho, Sao Paulo 2016 Games People Play, NEST, Den Haag

Selected Bibliography: Lécher, Marie. “Où est la valeur d’un bien virtuel?”, Libération, December 9, 2005 Marti, Silas. ”Arte e design se chocam em mostra”, Folha de São Paulo, January 18, 2008 Paul, Christiane. Digital Art, Thames & Hudson, London, 2008, pp. 241-243 Ursin, Lars Holger. “Blodig alvor i dataspill”, Bergens Tidende, October 14, 2005 OTHER (2012) ABSTRACT POSSIBLE: AN INVESTMENT PORTRAIT with Thea Westreich Art Advisory Services

A detailed evaluation of the collecting opportunities presented by each of the works on offer in the exhibition Abstract Possible at Bukowskis auction house, Stockholm, 2012. Presented as a unique and strictly confidential report, its contents are only made available to the buyer.

Abstract Possible: An Investment Portrait with Thea Westreich Art Advisory Services, 2012 (spine) Abstract Possible: An Investment Portrait with Thea Westreich Art Advisory Services, 2012 (seal)

Title: Abstract Possible: An Investment Portrait Medium: Confidential evaluation of collecting opportunities Box design: Johan Hjerpe Year: 2012 Commissioned by: Abstract Possible, Tensta Konsthall & Bukowskis

Exhibition history: 2012 Abstract Possible: The Stockholm Syneriges, Tensta Konsthall, Stockholm 2012 Abstract Possible: Primary Sale, Bukowskis, Stockholm

Selected bibliography: Davis, Jacquelyn. “Critic’s Pick, Abstract Possible”, Artforum.com, March 2012 Schwarzbart, Judith. “Abstract Possible: The Stockholm Synergies”, Art Agenda, April 3, 2012 CV GOLDIN+SENNEBY WWW.GOLDINSENNEBY.COM

Solo exhibitions 2016 ’Standard Length of a Miracle’, Tensta konsthall, Waldemarsudde, a.o., Stockholm 2014 ’M&A’, SBC Gallery, Montréal 2013 ’Anti-VWAP’, Collective, Edinburgh 2013 ’VWAP’, Centre for Contemporary Art - CCA, Derry~Londonderry 2013 ’M&A’, ArtspaceNZ, Auckland 2012 ’I dispense, divide, assign, keep, hold’, Neuer Aachener Kunstverein, Aachen 2012 ’Money will be like dross’, Crystal, Stockholm 2011 ’Standard Length of a Miracle’, Contemporary Art Centre, Vilnius 2010 ’The Nordenskiöld Model: Act 1’, Konsthall C, Stockholm 2010 ’The Decapitation of Money’, Kadist Art Foundation, Paris 2009 ’Headless. From the Public Record’, Index, Stockholm 2008 ’Goldin+Senneby: Headless’, The Power Plant, Toronto

Selected group exhibitions & events 2016 ’The Eighth Climate (What does art do?)’ 11th Gwangju Biennale, Gwangju 2016 ’Les Incessants’, Villa du Parc, Annemasse 2016 ’Nervous Systems’, Haus der Kulturen der Welt, Berlin 2016 ’Fluidity’, Kunstverein in Hamburg 2015 ’On Being in the Middle’, Galerie Hubert Winter, Vienna 2015 ’Alfred Jarry Archipelago’, Le Quartier, Rennes 2015 ’Imaginary Accord’, IMA, Brisbane 2015 ’Sources Go Dark’, Futura, Prague 2014 ’L’avenir (looking forward)’, La Biennale de Montréal 2014 ’600 Mio. Friends and Accomplices’, Künstlerhaus, Vienna 2014 ’Getting Rid of Ourselves’, Onsite [at] OCAD U, Toronto 2014 ’Art and Alchemy’, Museum Kunstpalast, Düsseldorf 2013 ’Art Turning Left’, Tate Liverpool 2013 ’Mom, am I barbarian?’, 13th Istanbul Biennial, Istanbul 2013 ’Liquid Assets’, Steirischer Herbst, Graz 2013 ’0 Performance´, special project, 5th Moscow Biennial, Moscow 2013 ’Connect Four: The Bet’, KunstWerke, Berlin 2013 ’Maintenance Required’, The Kitchen, New York 2013 ’The Nordic Model®’, Malmö Konstmuseum, Malmö 2013 ’The Magic of the State’, Lisson Gallery, London 2013 ’The Book Lovers’, EFA project space, New York 2013 ’The Magic of the State’, Beirut, Cairo 2012 ’Abstract Possible: The Birmingham Beat’, Eastside Projects, Birmingham 2012 ’Counter-Production’, Generali Foundation, Vienna 2012 ’West of East’, Gallery Y, Minsk 2012 ’The Deep of the Modern’, Manifesta 9, Genk 2012 ’Skabt af tiden’, Nationalmuseum, Copenhagen 2012 ’Not surprisingly, he is wearing gloves’, Eastside Projects, Birmingham 2011 ’Secret societies’, CAPC musée d’art contemporain de Bordeaux 2011 ’Power to the people’, Australian Centre for Contemporary Art, Melbourne 2011 Gothenburg International Biennial for Contemporary Art, Gothenburg 2011 ’Secret Societies’, Schirn Kunsthalle, Frankfurt 2011 ’The End of Money’, Witte de With, Rotterdam 2011 ’Abstract Possible: The Tamayo Take’, Museo Tamayo, Mexico City 2010 ’Abstract Possible: The Trailer’, Malmö Konsthall, Malmö 2010 ’Map Marathon’, Serpentine Gallery, London 2010 ’The Moderna Exhibition’, Moderna Museet, Stockholm 2010 ’Hydrarchy’, Gasworks, London 2010 ’Un exposition (du) sensible’, Centre d’art contemporain la Synagogue de Delme 2010 ’Uneven geographies’, Nottingham Contemprary, Nottingham 2010 ’Handlung. On Producing Possibilities’ Bucharest Biennale 4, Bucharest 2010 ’The Headless Conference’, New Museum, New York 2009 ’The Malady of Writing’, MACBA, Barcelona 2009 ’Feedforward: The Angel of History’, LABoral, Gijon 2009 ’Voice Over’, Iaspis in Venice 2009 ’The Man behind the Curtain’, Mission 17, San Francisco 2008 ’In Living Contact’, 28th Bienal de Sao Paulo, Sao Paulo 2008 ’TINA’, The Drawing Room, London 2008 ’Reality Effects’, Henie Onstad Kunstsenter, Oslo 2008 ’Data Recovery’, GAMeC, Bergamo 2008 ’Terms of Use’, Centro Cultural Montehermoso, Vitoria-Gasteiz 2008 ’Disclosures’, Gasworks, London 2007 ’Twentyfourseven’, Signal, Malmö 2005 Artport, Whitney Museum of American Art, online 2005 ’Game Dump’, Bergen Kunsthall, Bergen

Commissions 2016 (COMING) ’The Plot’, FLACC, Genk 2015 ’On a Long Enough Timeline the Survival Rate for Everyone Drops to Zero’, Checkpoint Helsinki 2015 ’Landed (Freeman’s Wood)’, StoreyG2, Lancaster 2012 ’Abstract Possible: An investment portrait’, Abstract Possible at Bukowskis, Stockholm 2010 ’Lot 36: Fiction on Auction’, Offer & Exchange #4, Electra Productions, London 2009 ’Shifting Ground’, Almost Real, Stage 5, curator Maria Lind, European Cultural Foundation

Residencies 2012 Artist in Residence, Headlands, San Francisco 2012 Artist in Residence, SALT, Istanbul 2010 Artist in Residence, Kadist Art Foundation, Paris 2008 Artist in Residence, 28th Bienal de Sao Paulo 2008 Artist in Residence, Gasworks, London 2007 Artist in Residence, Iaspis, Stockholm

Art Fairs 2015 Art Brussels, Represented by NON, Istanbul c/o Enough Room for Space, Brussels (solo) 2014 MiArt, Milano, Represented by NON, Istanbul 2012 Artissima, Torino, Represented by Crystal, Stockholm (solo) 2012 ’Frieze Frame’, Frieze NY, Represented by Crystal, Stockholm (solo) 2012 Art Brussels, Represented by D+T Projects, Brussels 2012 The Armory Show, New York, Represented by Crystal, Stockholm

Public Collections Centre Pompidou (since 2016) Malmö Art Museum (since 2013) Moderna Museet (since 2011) Kadist Art Foundation (since 2010) Artport Whitney Museum, online (since 2005)

Selected bibliography Burke, Gregory (ed), Ana-Paula Cohen, and Hinrich Sachs. Goldin+Senneby: Headless, The Power Plant, Toronto, 2009 (catalogue) Burke, Gregory. ”Predictions: Art and the future”, Art & Australia, Winter 2012 Cameron, Angus. ”Modelling Headless”, Journal of Critical Globalisation Studies, Issue 7, 2014 Connell, Liam. ”Globalization and Transnationalism”, The Routledge Companion to Experimental Literature, Routledge, 2012, pp. 233-236 Demos, T.J., ”Opening: Goldin+Senneby”, Art Forum, March 2011, pp. 252-254 Demos, T.J., The Migrant Image, Duke University Press, 2013, pp. 163-168 Diehl, Travis. ” “Plotting a Post-Crash Potboiler” X-TRA, Fall 2015, Vol 18 No 1, Droitcour, Brian. ”Interview with Goldin+Senneby”, Rhizome.org, Feb 4, 2009 Einarsson, Kim. ”Nameless Acting”, Geist, no 11, 12, 14, 2007-08, pp. 105-117 Fiduccia, Joanna. ”Review: Goldin+Senneby, Kadist”, Art Forum, Oct 2010, pp. 289-290 Gopnik, Blake. ”Critic’s pick: Goldin+Senneby”. Artforum.com, Jan 30, 2009 Grant, Philip. ”Too Real an Unreality: Financial Markets as Occult”, e-flux journal #62, 2/2015 Hamilton, Jaimey. Uncommon Goods: Global Dimensions of the Readymade, Intellect Press, 2013, pp. 117-124 Laia, João. “Review: Goldin+Senneby, CCA Derry-Londonderry”, Frieze, No 157 September 2013 Lechner, Marie. “La finance, monstre sans tête”, Liberation, Le Mag 18-19 Sept 2010, pp. XIV-XV Marsh, Nicky. ”Headless, an installation by Goldin+Senneby”, Wasafiri, Issue 66, Summer 2011, pp. 92-94 Morisset, Vanessa. ”Participation for sale!”, Esse, No 73, Autumn 2011, pp. 30-35 Morse, Erik. “Headless: A Novel”, Art Review, Summer 2015, p. 156 Myers-Szupinska, Julian D. “After the Production of Space”, Critical Landscapes, UC Press, 2015 Paul, Christiane. Digital Art, Thames & Hudson, London, 2008, pp. 241-243 Provan, Alexander. “Headless Commercial Thriller”, Triple Canopy, Issue 18, 2013 Ringborg, Theodor. ”Critic’s pick: Goldin+Senneby”. Artforum.com, Jan 27, 2012 Teets, Jennifer. ”Review: Goldin+Senneby, Kadist”, art-agenda.com, June 30, 2010