Can you imagine a world where diversity is not an issue?
A Workshop Experience at KH7 with IMMART, UKK and Aarhus Billedkunstcenter
Recently, as Research Curator of IMMART, I had the incredible opportunity to facilitate a workshop at KH7, organized by UKK and Aarhus Billedkunstcenter, focused on diversity in the arts and culture sectors. When I was contacted, I was thrilled to learn that I had the freedom to craft the workshop content myself.
Having worked as a freelancer in Denmark for nearly a decade, I am well aware of how rare such invitations can be, especially for foreign-born cultural workers. However, it is essential to bring diverse perspectives to the forefront, particularly when discussing topics like diversity. The voices of individuals with different backgrounds enrich our understanding of culture and challenge the status quo, making it imperative to include a range of experiences in these conversations.
To kick off the workshop, I presented an overview of the results from our project Advocacy, Access, and Active Inclusion (AAA) study visits. This Erasmus+ project, led by IMMART in collaboration with GAP in Finland and FACE in France, aims to increase diversity and inclusion within the arts and culture sectors across Europe. Initiated in September 2023 and set to conclude in September 2025, the project completed the study visits phase in early 2024. This phase consisted of educational trips to Denmark, France, and Finland, where we engaged in conversations with a diverse range of stakeholders in the arts and culture fields. These discussions spanned grassroots organizations, foreign-born initiatives, and governmental bodies, allowing us to gather a wealth of perspectives on the current landscape of diversity and inclusion.
Through these visits and subsequent conversations, we identified common challenges faced by underrepresented groups, such as systemic discrimination and a lack of diversity among powerholders and decision-makers, which results in a limited understanding of culturally diverse artistic excellence.
The insights gained are now informing the production of resources, including blueprints for prototype learning materials, training modules, a mentorship program, and a digital guide tailored to facilitate the integration of artists and cultural professionals with migrant backgrounds.
It felt important to disseminate these results in the workshop not just to create awareness but also to inspire actionable change within the community. By understanding the challenges and opportunities identified through these visits, we can collectively work towards fostering a more inclusive and vibrant arts landscape.
That said, I decided to combine storytelling with embroidery, a pairing that naturally fosters conversation and reflection. The act of storytelling allows participants to connect emotionally with the material, while embroidery provides a tactile medium through which they can express their thoughts and feelings. Together, these elements create a rich environment for dialogue and creativity.
I chose three compelling stories to share during the workshop, each reflecting curatorial challenges I encountered while working with M’Baraká, a creative studio that has been developing narrative-driven exhibitions since 2007, in Brazil. M’Baraká blends historical research, contemporary art, design, and natural history collections, collaborating with national museums to explore underrepresented narratives and challenge traditional perspectives.
Story 1: Neurodivergent Artists and Their Place in the Canon. I explored the remarkable legacy of Nise da Silveira and the artists from the Hospital do Engenho de Dentro in Rio de Janeiro. Their work challenges the traditional narratives surrounding mental health and creativity, highlighting the need for a more inclusive understanding of artistic expression.
Story 2: Women in Western Science. I shared the powerful story of enslaved women in Suriname who used the peacock flower (Caesalpinia pulcherrima) as a form of resistance. This narrative not only sheds light on their ingenuity and resilience but also raises critical questions about the intersection of gender, race, and science.
Story 3: Colonialism as the Foundation for Systemic Inequality. I discussed Charles Darwin and the capture of the Fuegians in Tierra del Fuego, examining how colonial practices have shaped the systemic inequalities we face today. This story serves as a poignant reminder of the historical roots of our current challenges.
The workshop attracted a diverse group of attendees, each bringing their unique perspectives and experiences to the table. Among them was a curator from Congo, representatives from UKK and Aarhus Billedkunstcenter, who all contributed their experiences in fostering inclusivity within their organizations. Additionally, we had former and current leaders from Danish kunsthalls, who provided valuable context on the evolution of the arts scene in Denmark. Apart from cultural workers, artists also participated, enriching the discussions with their personal stories and creative practices. This diversity not only enhanced the dialogue but also reinforced the workshop’s mission to explore and celebrate the multifaceted nature of our artistic communities.
To dive into these themes, we divided participants into three groups, each focused on one of the stories presented. Each group was asked to discuss their assigned story through the lens of diversity. By bringing their unique viewpoints, each group discovered new layers within the stories, connecting their own experiences with the narratives at hand.
The participants’ productions were nothing short of fantastic, sparking vibrant conversations that explored the themes of our discussions. Their embroidery projects included a global map turned upside down, critiquing Eurocentric perspectives, as well as pieces featuring neighboring plants that served as metaphors for neurodivergent artists. Some participants created abstract designs of intertwining lines and hearts, emphasizing the importance of emotion in artistic expression.
This workshop not only facilitated meaningful dialogue but also illustrated the power of creativity as a tool for exploring diversity. I left feeling inspired by the participants’ engagement and their ability to weave personal narratives into their conversations, reinforcing the notion that our stories – like our cultures – are interconnected.
Letícia Stallone, PhD is a research curator with an in depth knowledge of working with and for marginalised artistic communities in Brazil and Denmark. At IMMART, Letícia curates exhibitions, conducts key research for our projects and also works with project design and knowledge development.
Visit the KH7 artspace, the professional organisation for artists, curators, and art mediators UKK, and the artist resource center, Aarhus Billedkunstcenter.
