Sezgin Boynik and Minna L. Henriksson. Photo: Roza Boynik.
Sezgin Boynik (1977), lives and works in Helsinki. He has completed his Phd in Jyväskylä University Social Science department on the topic of "Cultural Politics of Black Wave in Yugoslavia from 1963 to 1972". He has been publishing on punk, relation between aesthetics and politics, on cultural nationalism, Situationist International and Yugoslavian cinema. Co-edited reader Nationalism and Contemporary Art (with Minna L. Henriksson, Rhizoma & EXIT, Prishtina, 2007), and co-authored book on History of Punk and Underground in Turkey, 1978-1999 (with Tolga Guldalli, BAS, Istanbul, 2008) Apart from scholarly work he is also active as conceptual artist.
Recent articles include New Collectives (Retracing Images, Brill, Boston & Leiden, 2011), Cultural Policy of Dusan Makavejev (Kino! Journal No. 15, Ljubljana, 2011), Discontents with Theoretical Practices in Contemporary Art (Journal of Visual Art Practice 10:2, London, 2011) Art of Slogans - in two parts (TKH no 19 and 20, Belgrade, 2012), Dimitrije Tucovic i Srpsko-Albanski 'Istoricisticki' Odnosi (Cenzura d.o.o., Novi Sad, 2013), Social Surrealism: Historical-Materialist Theses on the Mystery of Art (open space journal, Vienna, 2013) and Marxist-Leninist Roots of Zenitism (Filmkollektiv, Frankfurt, 2013).
Art works are installation On Lenin: Atlases, Herbariums and Rituals (Anders Bergman Galleri, Helsinki, 2012) and art-books Counter-constructivist Model (co-authored with M.L. Henriksson, Labyrinth Press, Stockholm, 2012), Still Stealing Steel: Historical-Materialist Study of Zaum (Rab-Rab Publication, Tbilisi, 2014) and Noise After Babel: Language Unrestrained (Spector Books, Leipzig, 2015, forthcoming). He is editor of Rab-Rab: Journal for Political and Formal Inquiries in Art.
Minna L. Henriksson (born 1976) currently lives in Helsinki. She has studied art in Brighton, Helsinki and Malmö, and worked in many Southeast European cities, as well as lived in Istanbul at a number of times since 2003. She is interested in both making visible and disturbing power and its manifestations through (her) art. She employs various methods in her investigative art, which often consist of text, drawing and photography. Her works have been relating to topics such as nationalism, racism, economy, rewriting or erasing the history of the left struggle, and politics in art scenes. Henriksson has participated in a number of significant exhibitions internationally, and she has had several solo exhibitions in Finland and abroad.
Henriksson has a broad and ongoing teaching experience of courses in many art schools in Finland (Helsinki Fine Arts Academy, Aalto University, Art School Maa, Lahti Art Institute) and in workshops abroad (at least in the Center for Contemporary Art Tbilisi, PortIzmir triennial in Izmir, Flaxart Studios in Belfast). Among the topics in the courses have been research of power structures in art systems, organising as artists / art workers, revisiting silenced histories and contemporary art & nationalism.
Sezgin Boynik & Minna L. Henriksson's installation Noise After Babel (2015)
at Mänttä Art Festival. (Photo: Timo Nieminen.)
Noise After Babel is a result of artistic-theoretical research. It examines multi-accentuality of language as the potential grounds for political engagement. Our general metaphor for using the coupling ‘babel’ and ‘noise’ is based on conception of a perfectly working system of univocal state, which functions without coercions (babel), that after an intervention/change (‘loss of innocence’) is replaced by unwanted and unbearable situation (noise).
The project is an installation and printed book, which is authored by Sezgin Boynik and Minna L. Henriksson. The book contains contributions by Antti ‘Eze’ Eskelinen, Alpo Jaakola, Rastko Močnik, Eetu Viren and Milena Solomun as well as interviews with researchers Liban Ali Hersi, Minna Hjort, Ulla Horstia, Salli Kankaanpää, Mika Lähteenmäki, Lauri Siisiäinen and Klaas Ruppel.
Sezgin Boynik & Minna L. Henriksson: Noise After Babel, 2015,
a detail from the installation. (Photo: Timo Nieminen.)