PARSE - Platform for Artistic Research Sweden, Gothenburg (2025)

02/10/2025

Some Like it Hot Plenary session:⁠
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Sara Sassanelli

Göteborgs Konserthus

Friday 14 November

11:00-12:30

Looking for the Heat
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This lecture considers how experimental choreographic practices engage with heat, not just as temperature, but as pressure, as friction and urgency. In a time shaped by ecological crisis and accelerated systems, heat becomes a warning signal and a generative force. In contemporary dance and somatic work, it surfaces through repetition and exertion, through an engagement with hybrid format structures, that push scores towards altered states. Scores that require an acceptance of the unknown or lack of resolution.

Drawing from choreographic research that moves through rave cultures and collective movement, this talk explores how heat takes multiple forms: as sweat, the build of tempo, the moment of collapse. Dancing becomes a conduit for energy, making space for new configurations of relation and time.

What does it mean to stay with this intensity? Curating in this context means creating space for instability. It’s about building frameworks where experimentation can flourish, and where risk and disorientation can be held, rather than resolved. This lecture speaks through different curatorial methodologies that offer space for practice and uncertainty, with the aim of opening up moving with, and being moved by, dance. ⁠
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Sara Sassanelli is co-founder of Alice Agency and Associate of CONDITIONS studio programme. Until 2024, they were Curator of Live at the Institute of Contemporary Arts (ICA) where they programmed across dance and electronic music, with a focus on emerging artists. Their work explores collective and enthusiastic cultures that form around raving and how these manifest in multidisciplinary practices. Their most recent ICA programme, this dark gleam (2024), showcased artists engaging with formal technique, social dance, pop culture, and punk sensibilities. Currently, they are collaborating with Eve Stainton, Fernanda Muñoz-Newsome, Billy Bultheel, and Jose Funnell, among others. Previously, they have worked at Tate, Goldsmiths, and the Royal Academy of Arts, and have programmed events at Ormside Projects, Somerset House Studios, Southwark Platform, Guest Projects, Arts Admin, Fierce Festival, and Block Universe. They programme across dance and electronic music.

Recent programming includes: NX FUIMO by Tamara Alegre (2024), GONER by Malik Nashad Sharpe (2024), Afterlife by Louis Schou Hansen (2024) IMPACT DRIVER by Eve Stainton (2023), minus one series (2022 – 2023), Dykegeist by Eve Stainton (2021), The Last Breath Society by Martin O’Brien (2021), Rave Trilogy by Rebecca Salvadori (2020) The Tender Interval: Studies in Sound and Motion (2020), a convening exploring the transformational qualities of sound and dance practices and an all-night takeover of ICA by collective INFERNO (2020 & 2023).
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The session will be moderated by Gerrie van Noord, editor and educator.⁠
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All plenary sessions of the conference will be open to the public and live streamed. ⁠

Visit https://parsejournal.com/event/some-like-it-hot/ for more information on Some Like it Hot, the 6th Biennial PARSE conference.
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image: IMPACT DRIVER, Eve Stainton, 2023, Institute of Contemporary Arts © Anne Tetzlaff

01/10/2025

Some Like it Hot Plenary session:⁠
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Hsuan Hsu

Stadsbiblioteket

Thursday 13 November

17:30-19:00
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Thermoception and Post-AC Worldmaking

Building on Nicole Starosielski’s elaboration of “critical temperature studies,” Daniel Barber’s call for architectural design oriented towards a post-carbon future, and Sarah Hamblin’s work on “post-AC” spatial and cinematic practices, this presentation argues that thermal aesthetics—grounded in sensory experience that is metabolic, embodied, atmospheric, affective, shared, and uneven—can communicate modes of relation and practices of worldmaking that have been occluded by Western liberalism’s norms of disinterestedness and autonomy. I will begin by considering how thermal discourses and carbon-intensive infrastructure—especially air conditioning—function to spread and normalize liberal, capitalist modes of sensing and inhabiting the world. I will then consider a range of narratives and multimodal artworks that experiment with thermoception as a sensory capacity attuned to both the exercise of “thermopower” and otherwise possibilities for relating to the human and more-than-human world.

Hsuan Hsu received his PhD in English from UC Berkeley. He is a Professor of English at the University of California, Davis, where he works in the fields of American literature and culture, environmental humanities, critical ethnic studies, sensory studies, and cultural geography. His publications include Geography and the Production of Space in Nineteenth-Century American Literature (Cambridge, 2010), The Smell of Risk (NYU, 2020), Air Conditioning (Bloomsbury, 2024), and articles in journals such as American Literary History, ISLE, Panorama, Camera Obscura, and Jump Cut. He has on the editorial or advisory boards of several journals, including Literary Geographies, American Literature, Genre, Multimodality and Society, and Venti: Air, Experience, Aesthetics. He has received fellowships from the American Academy of Arts and Sciences, the National Endowment for the Humanities, the American Council for Learned Societies, and the Andy Warhol Foundation for the Visual Arts. He is currently completing a short book on Olfactory Worldmaking and co-editing (with Ruben Zecena) a special issue of Senses and Society on the topic of Migrant Sensoria.

The session will be moderated by Jessica Hemmings, Professor of Craft, HDK-Valand.⁠⁠

All plenary sessions of the conference will be open to the public and live streamed. ⁠

For more information on Some Like it Hot, the 6th Biennial PARSE conference visit https://parsejournal.com/event/some-like-it-hot/
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image: Do the Right Thing (dir. Spike Lee, 1989)

30/09/2025

Some Like it Hot Plenary session:⁠
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Marina Otero Verzier
⁠
Röhsska museet⁠
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Thursday 13 November ⁠
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12:30-14:00 ⁠

On Heat, Desire, and the Thermopolitics of Data
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This talk traces the entangled geographies of heat within digital infrastructures. From the residual warmth expelled by servers to the rising planetary temperatures fueled by an ever-expanding network of data centers, computation operates as both a generator and amplifier of thermal excess. Yet heat is not merely a byproduct—it is a condition. It saturates the mountainous territories where minerals are extracted to sustain digital operations, and it radiates through the bodies and ecologies subjected to extractive violence. Drawing from case studies across mining projects and data farms, I will examine how thermal regimes are spatialized, managed, and contested—and propose pathways toward new energy cultures.
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Marina Otero Verzier is an architect and researcher whose work sits at the intersection of critical spatial practices, ecology, technology, and activism. In 2022, she received the Harvard GSD’s Wheelwright Prize for a project on the future of data storage. She is a Lecturer in Architecture at Harvard GSD and Dean’s Visiting Assistant Professor at GSAPP, Columbia University, New York, where she leads the ‘Data Mourning’ clinic, an educational initiative focused on the intersection between digital infrastructures and climate catastrophe. She collaborated with the Supercomputing Center of the DIPC to develop alternative models for storing data, such as the project Computational Compost, first presented at Tabakalera. Otero was also invited by the Ministry of Science, Technology, Knowledge, and Innovation to participate as an expert in the development of Chile’s first National Data Centers Plan, together with “Resistencia SocioAmbiental – Quilicura” and other local communities on the front lines of extractivism. Otero was the Head of the MA Social Design Masters at Design Academy Eindhoven (2020-2023) and Director of Research at Het Nieuwe Instituut (2015 to 2022). She has curated exhibitions such as ‘Wet Dreams’ at Mayrit, CentroCentro (2024), ‘Compulsive Desires: On Lithium Extraction and Rebellious Mountains’ at Galería Municipal do Porto (2023), ‘Work, Body, Leisure’ at the Dutch Pavilion at the Venice Architecture Biennale (2018), and ‘After Belonging’ at the Oslo Architecture Triennale (2016). Otero is the author of En las Profundidades de la Nube (2024), a book on data storage and sovereignty in the AI era. The book proposes new paradigms and aesthetics for data storage, integrating architecture, preservation, and digital culture. She has co-edited Automated Landscapes (2023), Lithium: States of Exhaustion (2021), More-than-Human (2020), Architecture of Appropriation (2019), Work, Body, Leisure (2018), among others.
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The session will be moderated by Onkar Kular, Professor of Design, HDK-Valand.⁠
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All plenary sessions of the conference will be open to the public and live streamed. ⁠
⁠
For more details on Some Like it Hot, the 6th biennial PARSE conference ⁠ visit https://parsejournal.com/event/some-like-it-hot/
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image: 'Computational Compost' by Marina Otero Verzier at Tabakalera
International Centre for Contemporary Culture, Donostia. Photo:
Tabakalera.

29/09/2025

Some Like it Hot Plenary session:

fields harrington

Röhsska museet

Wednesday 12 November

15:00-16:30

Thermal Runaways: Labor, Extraction, and Circuits of Exhaustion

Platform-based contract labor, mineral extraction, and bodily exhaustion converge within the gig economy’s logistical infrastructure—an economy that extracts not only labor but energy from both human and planetary bodies. Lithium-ion batteries, which power the e-bikes and smartphones essential to app-based delivery work, are sourced from sites of resource depletion in the Global South, including Chile’s Atacama Desert, the Qinghai-Tibet Plateau, the Democratic Republic of Congo, and Zimbabwe. The physical exertion of New York City’s delivery workers and the environmental devastation wrought by lithium mining share a critical material relationship: both are driven toward depletion in service of platform capital’s uninterrupted flow of commodities. This project traces that entanglement, revealing how thermal violence—the heat of bodily fatigue, resource extraction, and ecological collapse—structures contemporary platform economies.

fields harrington (b. 1986) is a Brooklyn-based artist whose practice spans sculpture, performance, video, photography, drawing, and writing. harrington investigates the political, social, historical, and economic forces shaping the production of empirical knowledge, with a particular focus on science. His work critiques how ideologies—such as racism and the enduring financial logic of slavery—have shaped scientific practices that uphold systems of oppression. By revealing the intersections between knowledge production and the abstraction of power, harrington challenges the construction, transmission, and weaponization of knowledge.

The session will be moderated by Cathryn Klasto, Senior Lecturer in Fine Art, HDK-Valand.

All plenary sessions of the conference will be open to the public and live streamed.

Click the link in bio to read the abstract in full, and for more details on the conference

image: blue_whitebag, fields harrington, 2024

19/08/2025

Some Like it Hot: The 6th biennial PARSE conference (November 12-14, 2025)

We are pleased to announce our full conference contributor list with biographies is available on the PARSE website.

Looking forward to all the propositions that address heat from a range of positions, perspectives, and disciplines!

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Some Like it Hot takes place in Gothenburg and online.⁠

Registration now open, visit: https://parsejournal.com/event/some-like-it-hot/

14/08/2025

Chaotic Degrowth via Artistic Practices with Sean Roy Parker and Alexandra Papademetriou

Pony Books, Tunnbindaregatan 19, 417 04 Göteborg
Friday 26th September 2025
Doors 18:00 | Readings begin 18:30

Join us for an evening exploring urgent creative methodologies in the climate crisis through the lens of degrowth with Sean Roy Parker and Alexandra Papademetriou.

Emerging from multiple streams of ecological and social thought, degrowth signifies a critique of the narrative of perpetual economic growth, and of the centering of growth as a social objective.* Moreover, degrowth exposes a fundamental contradiction in the dominant capitalist mode: Infinite growth on a planet with finite resources. In a world addicted to production and prosperity, how can artists bring new strategies that centre well-being, care and collectivity into existence while being brutalised by the system they are wilfully failing? How do we reconceptualise artistic labour, production, and success in a degrowth context?

The evening begins with Sean Roy Parker reading excerpts from his debut poetry collection stewarding (2024, Monitor Books), followed by a critical discussion led by Papademetriou examining how enacting practical degrowth principles can reshape our understandings of artistic practice, as detailed in her ongoing project, The Degrowth Toolbox for Artistic Practices, 2021-.*Paraphrased from Degrowth, A Vocabulary for a New Era, Routledge, 2015 by Giacomo D'Alisa, Federico Demaria, Giorgos Kallis. More info at degrowthtoolbox.net

Copies of stewarding (Parker) and Like Roots Splitting Stone (Papademetriou) will be available to purchase.

Sean Roy Parker is a visual artist, writer and landworker from Kent, UK. Until its closure, he was a core member of The Field, an experimental artist-run living project in an ex-Steiner School building in Derbyshire, East Midlands. He was a 2023 Wysing Arts Centre resident, and in 2024 he received a Paul Hamlyn Foundation Visual Artist Award. His debut collection stewarding was published by Monitor Books, London.

Alexandra Papademetriou is an artist and designer from Athens, Greece, currently based in Gothenburg, Sweden. She earned her MFA in Fine Art from HDK-Valand and her post-master from the Royal Institute of Art in Stockholm. Using shared learning as method, she aims to facilitate interdisciplinary dialogues and collaborations; exploring how artistic practices can provide the testing ground for environmental and social change.

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image: 𝘓𝘦𝘵 𝘺𝘰𝘶𝘳 𝘩𝘢𝘯𝘥 𝘴𝘪𝘯𝘬 𝘪𝘯𝘵𝘰 𝘵𝘩𝘦 𝘴𝘰𝘪𝘭, Alexandra Papademetriou 2025 © Laura Selby

12/08/2025

Stewardship and Structures: Enacting, Regenerating and Maintaining
with Andreas Engman, Sean Roy Parker & Eva Rowson

Sept 24 at LjurhallaFabriken, Vårgårda
11:00-17:00

This event explores the intimate politics of care through the methodology of world building—physical structures that (are yet to) exist and maintain, material lifecycle systems, and communal distribution of responsibility. Drawing from three artists’ shared politic that we are held in webs of interdependence with our localities, environments and communities, together we will investigate how artistic practices can embody disruption, embrace slowness, practice thrift, and foster deep connection.

Through two distinct yet synergetic presentations, we examine how critical frameworks—concrete, chaotic and conceptual—can transform perceived barriers into foundations for reshaping our relationship with the world during a polycrisis.

All welcome! A free bus is arranged to depart from outside Akademin Valand, Vasagatan 50 at 10:00 on September 24 in order to arrive at Ljurhallafabriken for 11:00, returning to Gothenburg for 18:00.

Vegan lunch will be provided.

The event is free- but to secure a place registration is required (we have limited spaces on the bus and need to know how many are coming for the food planning and prep).

Visit https://parsejournal.com/event/stewardship-and-structures/ for more details

image: (I) Sean Roy Parker, page from “stewarding”, Monitor Books 2024, (II) Eva Rowson, ventilation hole in concrete wall, Bergen Kjøtt, Norway, 2023 (background) Nathan Clydesdale, LjurhallaFabriken surrounds, 2025.

04/08/2025

Featured articles for August 2025, chosen by Tom Cubbin, Senior Lecturer in design studies, HDK-Valand Campus Steneby and member of the PARSE Working Group.⁠

This month’s selected articles explore how artistic and curatorial practice mediate the complexities of faith, violence, and secular experience across time, space, and cultural contexts. From medieval devotional tools to post-9/11 aesthetics, and from ecological peace activism to spiritual resistance in contemporary practice, the contributions trace how art practices become vessels for belief, affect, and critique.

Visit the PARSE homepage https://parsejournal.com/ to reach the articles⁠
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21/07/2025

Prompt: Intimacy vs. Property, Ecologies of Dissemination

This prompt has been contributed by Andrea Francke who proposes to revisit the “infectious concepts” of property and sovereignty. She writes, “I’m annoyed by radical structures that reify the idea of property as the way to think about our relations to each other and the world.” Instead, she calls for the courage to pay attention to the actual ways in which we exist with each other, what she calls “the intimacy of interdependency”.

Visit https://parsejournal.com/article/reuse-prompts/ -vs-property to reach the prompt in full

17/07/2025

Prompt: Quasi Licence, Ecologies of Dissemination

In the prompt Quasi Licence, Gabriela Méndez Cota stresses that we don’t need more licences but instead need to better articulate the power dynamics that escape any licence for each specific project. Cota suggests working with quasi licences that include a concept of trust, good will or good faith, in the sense of a commitment to dialogue and reflection around the meaning, or the situated ethical and political implications, of each reuse project, considering its specific aims and procedures.

Visit https://parsejournal.com/article/reuse-prompts/ -licence to reach the prompt in full

14/07/2025

Prompt: Never Yours to Begin With, Ecologies of Dissemination

In the prompt: Never Yours to Begin With Marloes de Valk addresses CC4r’s universal claim of disappropriation that risks creating the same terra nullius as universal openness does. She prompts the reader with a visual collage and the question how we can grow stronger together while surviving within late capitalist economies.

Visit https://parsejournal.com/article/reuse-prompts/ -yours-to-begin-with to reach the prompt in full

10/07/2025

Prompt: Spaces for Discomfort – Recognition, Ecologies of Dissemination

In this prompt, which is based on the public conversation “First Times Do Not Exist” with artist and curator Nkule Mabaso, the editors ask how to deal with discomfort when encounters and inspirations are not formally acknowledged. An artistic book Nkule (co-)produced was the crucial inspiration for another peer’s work, but despite the shared understanding of the politics of recognition, this act of reuse was not formally credited. In this conversation, Nkule insists on the importance and the willingness to take time and be in conversation to acknowledge and sit with this space of discomfort, so the tensions can become tangible and be addressed together rather than looking for punitive gestures or corrective quick fixes.

Visit https://parsejournal.com/article/reuse-prompts/ -for-discomfort-recognition to reach the prompt in full

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