Silja Leifsdottir

Conference Report. December 2024
The recent three-day conference was an inspiring and thought-provoking experience, where I had the privilege of attending through a travel grant, generously provided by OCA – Office for Contemporary Art Norway. It brought together professionals from diverse backgrounds to engage in meaningful discussions about art, institutions, and sustainability, all while providing opportunities to connect and learn from peers.
The conference began with a remarkable talk by Mark Bradford, who emphasized the importance of creating safe spaces for art. His wise reflections on listening deeply, empowering communities, and breaking hierarchies set the tone for the event. Bradford’s focus on the artist as the cornerstone of transformative change resonated deeply. Chus Martínez posed a pivotal question: Is sustainability a method or a philosophy? Her inquiry underscored the need for context-specific definitions of sustainability. This nuanced perspective was crucial, as sustainability varies significantly depending on geography, financial circumstances, and political contexts. I felt that beginning the conference with a more focused discussion on the primary theme of sustainability might have enriched the dialogue, especially given the diverse audience and their varying backgrounds.
Zita Cobb shared insights drawn from her work on Fogo Island. Her reflections on prioritizing “development” over “growth” struck a personal chord. Coming from a small town above the Arctic Circle, I found her ideas particularly poignant as they echoed challenges faced in my own community post-industrialization. Manuel Segade presented a case for the political institution, challenging the idea of art institutions as neutral, “blank canvases” that aim to be inclusive for all. His argument made me think of the necessity of defining who a safe space is truly for, and the inherent limitations of attempting to be everything for everyone. This was a vital reminder of the complexities surrounding inclusivity and institutional roles. One of the most impactful sessions was Mai Abu ElDahab’s lecture, which took the form of a series of questions. Queries such as “Whose interests are we tethered to?” and “How to be moved (in the context of war)?” urged us to reflect on the privilege many of us have in planning for the future, while acknowledging that for others, even thinking about 2026 is a luxury. This poignant reminder of the diverse realities faced by our colleagues lingered with me throughout the conference.
Candice Hopkins eloquently discussed the concept of “not being a museum.” Her reminder to “move at the speed of trust” and prioritize the hyper-local while staying rooted in history was both grounding and inspiring. Pablo José Ramírez’s exploration of his curatorial methods was another highlight, offering practical insights into his thoughtful and innovative approaches. I also found Taloi Havinis’ talk on matriarchal structures and the importance of echoing the past as we step into the future interesting. Her emphasis on listening to artists and anchoring institutional change within individual minds left a lasting impression. Edgar Calel did a great presentation on how (his) indigenous knowledge can be presented within a capitalistic art world. And having worked with Edgar Calel on a recent exhibition, I can be a witness to how working with, and listening to, artists such as Calel can make a huge impact on an institution, changing it within and not to be forgotten; changing the minds of the individuals in the institution, anchoring this change in the most sustainable and perhaps effective place; inside our body and minds.
The afternoons were filled with exceptional exhibitions and tours, which enriched the conference experience. Standouts included “Scentia Sexualis” at ICA LA, exhibitions at The Hammer Museum, the George Washington Carver Project at CAAM, and the visit to the Brand Library & Art Center in Glendale. These exhibitions offered a dynamic extension of the conference themes and provided further opportunities for dialogue and reflection.
I left the conference feeling deeply grateful and energized. The chance to meet colleagues from diverse geographies and backgrounds was invaluable, as were the informal conversations during meals, taxi rides, and bus journeys. These exchanges offered unique insights into institutions, politics, and projects I had not encountered before. This experience has left me with fresh perspectives and a renewed commitment to fostering meaningful connections, networks and changes within the arts sector. It will undoubtedly serve as a foundation for developing myself further as a curator and enhancing my contributions to the field.
Biography
Silja Leifsdottir (b. 1984) is a curator at Bergen Kunsthall in Norway. She was born in Iceland but grew up in Bodø, north of Norway. She graduated with a BA in Fine Art Photography from Glasgow School of Art (2005-2008) and a MA in Curatorial Practice form the University of Bergen, Norway (2015-2017). In between she also took a course in public art, initiated by KORO, Public Art Norway as well as studying culture management at the university in Tromsø, Norway. From 2017-2022 she worked as a curator for the Norwegian Sculptors Society in Oslo (Norsk Billedhoggerforening). From 2019-2022 she was chair on the board of The Norwegian Association of Curators.
She is the co-founder of SKREID publishing, an independent publisher of Nordic photobooks. She was a co-curator at the artist-run gallery Holodeck in Oslo for two years (2012-2013) and is the co-founder and current director of Oslo Art Guide (2011). Parallel to her own practice/projects, she worked as a coordinator and producer at Fotogalleriet (photographers gallery) in Oslo (2011-2017). While running Holodeck, she initiated Grønland Gallery Weekend (2013) together with other art spaces at the east side of Oslo which later transitioned into Oslo Art Weekend (2014), now also organized by Oslo Art Guide.
She is currently employed as the exhibition curator at Bergen Kunsthall, where she is responsible for curating the four-six main exhibitions per year, sharing the responsibility with the director. She is currently working on an upcoming exhibition with Edgar Calel, his first large solo representation in Scandinavia, as well as an exhibition with the Swedish artist Åsa Elzen, both opening in August 2024. In January she will open a group exhibition with Tejal Shah, Nikita Gale, Tracey Rose, Ventura Profana, Dora Budor and Tzianzhuo Chen, co-curated with her colleague Nora Swantje Almes.
Silja Leifsdottir, Curator, Bergen Kunsthall, Bergen, Norway, has been awarded by OCA - Office for Contemporary Art Norway, Oslo.