Nada has a background as a painter, but her artistic practice has been more conceptual in recent years: she did sculptures, installations, performances, and video work.
In her practice, the process inspires the medium. For Nada, the work is not about the object but the experience, both for the artist and the audience.
“I would speak from my position as an artist. I think my experience is about giving form to abstract concepts and ideas, being able to make something that can be sensed and experienced.”
Nada is interested in learning strategies of engaging people into experiencing and producing art. The thing she would like to share is that there is a multitude of meanings – the meaning is not something embedded in the artwork; it is what we make of it. That is why people need to share – it enriches the artwork and gives it more value.
Participating in MeM has given Nada both theoretical knowledge and practical experience: how to work in an extensive and diverse team, unify visions, agree on a common language, define success.
“The focus has shifted from how to mediate art to how to mediate thoughts and ideas through a large group of art mediators. Working in a large group is always a challenge, and it is always something you learn from.”
Nada’s recommendations: by Armando Perla “Making Space for Historically Excluded Voices ” for inspiring examples and practical tools in the context of museum work;
▶️ An e of Sveriges Radio “En stark berättelse om det personliga traumat räcker inte för förändring” (in Swedish).Why focusing on the stories of trauma creates a one-sided narrative, and why should we go beyond it?
▶️ Sara Ahmed’s book “Living a Feminist Life”, in particular, Chapter IV on diversity work “Trying to transform”;
▶️ Oscar Lara’s “Within Heritage Movements” deals with the repatriation of the textiles to prompt a debate around cultural and institutional policies and test the limits and the possibilities of artistic strategies belonging to the realm of social practice to initiate actual structural changes.