Dope Saint Jude

Dope Saint Jude

Checkpoint Helsinki presents:

Dope Saint Jude
Angel-Ho & Koko Hubara

Curated by
Ahmed Al Nawas & Christopher Wessels
Produced by Checkpoint Helsinki


As part of In-Between: Art, Education, and Politics in the Post-Welfare State conference we invite South African artists Chimurenga, Dope Saint Jude and Angel-Ho to collaborate with local writer and journalist Koko Hubara. The program aims to blur the inside-outside binary by treating the contemporary Nordic social and political landscapes, their existing challenges and imaginations of parallel educational and artistic space (chronic, blog and club) as a global phenomenon.

Thursday April 14,


What’s the method after Fela? Why is music a weapon? How do you play with electricity?

NTONE EDJABE (Chimurenga), KOKO HUBARA, DOPE ST JUDE and ANGEL-HO will be talking about alternative platforms and methodologies for education and knowledge production. Drawing from their diverse praxis as editors, dj’s, bloggers, MC’s and sound artists. Who no know go know.

(Conversation takes place inside an installation by Chimurenga)

20:00 - 02:00

Koko Hubara, Dope Saint Jude, Angel Ho.
Spoken word, music and sound performances.


tensta konsthall presents:

Standard Length of a Miracle

Standard Length of a Miracle is a mutating retrospective by Goldin+Senneby. Over the past ten years, the Stockholm-based artist duo has explored virtual worlds, offshore companies, withdrawal strategies, and subversive speculation. In a unique and subtle way, they combine artistic practice, financial theory, and performative methods, which are sometimes borrowed from the world of magic. 



17:15 - 17:45

Presentations by Isak Nilson, Director of SSE Art Initiative and Marie-Louise Fendin,
Library Director at Stockholm School of Economics

Works on view:
Zero Magic (2016) and Banca Rotta (I Dispense, Divide, Assign, Keep, Hold) (2012)
by Goldin+Senneby

18:30 - 20:30

Concentration and deterritorialization presentation by Maria Lind, director at Tensta konsthall
Standard Length of a Miracle, performative reading by Hamdi Farah
Nordic premiere: Looking for Headless (30min) a film by Kate Cooper & Richard John Jones.

20:30 - 22:30

Dinner: East African food by Auel
Music: Soundtrack by Zhala

The event will be taking place in the exhibition Standard Length of a Miracle by Goldin+Senneby





CHIMURENGA is a South African editorial collective and an innovative platform for free ideas and political reflection about Africa. The group’s Pan African Space Station (PASS) will infiltrate the Kallio Library in Helsinki in Spring 2016. PASS is an intervention that will map the library’s music and multimedia's collection to create a setting for a pop-up live studio entangling different realities and experiences – with participants and listeners prompted by ideas of utopia and oppression, history and the future, borders, time, art and technology. The intervention continues Chimurenga's ongoing exploration into the utopian moment shortly after African independences, when a series of Pan African festivals functioned as laboratories for the development of new, continent-wide politics and cultures. Building on their previous research platforms staged in Cape Town, San Francisco, and London among others Chimurenga will remap these Pan-Africanist imaginations and cultural visions in Helsinki. Chimurenga's Kallio library project is part of Remembering silences three-part program curated by Ahmed Al-Nawas, which explores how power operates in silence and how memory and memories could act as counter histories. The program aims to diffract the written history of Helsinki and to revise the outdated representations of the city.

Founded by Ntone Edjabe in 2002, Chimurenga (a Shona word that loosely translates as "struggle for freedom") takes many forms operating as a platform for vibrant new cultural and political projection across Africa, including music, literature and visual arts. Drawing together myriad voices from across the continent and the diaspora, Chimurenga’s outputs include a journal of culture, art and politics of the same name, a quarterly broadsheet called The Chronic, The Chimurenga Library—an online resource of collected independent pan-African periodicals and personal books, and the Pan African Space Station (PASS)—an online music radio station and pop-up studio. 


DOPE SAINT JUDE and ANGEL-HO are situated within the context of feminist and queer activism and recently within in the decolonial student movement in South Africa known as #RhodesMustFall and the free education movement #FeesMustFall. Their work challenges binary constructions of gender, race and sexuality they contest this in what they call the ‘club/gallery spaces as a colonized spaces’. Koko Hubara is a Finnish writer and journalist. Her award-winning blog Ruskeat Tytöt (Brown Girls) focuses on matters of gender, race, ethnicity and identity in the Finnish context. Her main aim is to stop the process of dehumanization of racialized people in Finnish politics, media and everyday life.


ANGEL-HO is an ongoing sonic narrative that involves a combustion of collage as an accentuation of performance. ANGEL-HO negotiates the club/gallery space as a colonized space and is intent on disrupting the mainstream consumption of appropriated [club] culture by the patriarch. Angel-Ho is also part of NON records, 'non, prior to the adjective, gives intel into the focus of the label, creating sound opposing contemporary canons.’ 


DOPE SAINT JUDE as a persona explores, contests and seeks to dismantle the problems that face young women. This binary busting hip hop head formed the Intombi Workshop, an informal arts programme on the Cape Flats, focused on using drama, music and poetry as tools for the empowerment among young women. She has recently recorded a 4 track EP for Redbull Studios and is currently working on her debut album.



Standard Length of a Miracle is a mutating retrospective by Goldin+Senneby. Over the past ten years, the Stockholm-based artist duo has explored virtual worlds, offshore companies, withdrawal strategies, and subversive speculation. In a unique and subtle way, they combine artistic practice, financial theory, and performative methods, which are sometimes borrowed from the world of magic. The retrospective will be presented as installations and performances at Tensta konsthall as well as at other places not primarily associated with contemporary art. Stockholm School of Economics, the Third Swedish National Pension Fund, the Financial Supervisory Authority, the clothing store A Day's March, Cirkus Cirkör, and the historical art museum Prince Eugen’s Waldemarsudde all serve as stages for reactivations of Goldin+Senneby’s oeuvre from the past ten years. Introducing the artistic field to public institutions and commercial centers enables a shift of perspective about where art takes place and who the audience is.

On view at Tensta konsthall is a new work developed in collaboration with the writer Jonas Hassen Khemiri. Khemiri’s meta-fictional response to Goldin+Senneby’s ten-year practice will be read out loud at the konsthall every day at 14:12. In the short story The Standard Length of a Miracle, the narrator changes his name to Anders Reuterswärd, hoping to increase his chances of getting hired at a konsthall. At a brisk pace without punctures or breathing space, the reader gets thrown into a stream of consciousness where all associations are equally important. The short story’s monologue is connected to the installation of an oak in the gallery space. The oak will function as a meeting place for discussions and seminars during the exhibition period, and, as the carpenter Moa Ott takes on the tree, new furniture will be produced around it. The tree refers to an oak that occurs in Khemiri’s text and also to the surrealist George Bataille’s secret society Acépahle, which is said to have gathered around an oak tree in the late 1930s. Acéphale—Greek for headless—has long been of interest to the artist duo and figures in their multi-year project Headless. Khemiri’s short story was published 10.1 in Dagens Nyheter.

The clothing line Anders Reuterswärd, developed in collaboration with Behnaz Aram, fashion and costume designer, will be on view in the entrance. The materials for the clothes originally come from garments left behind at dry cleaners around Stockholm. The clothing line will be worn by the konsthall’s staff during the exhibition as a new conceptual uniform. It will also be available for sale in the clothing store A Day’s March, located at Kungsgatan 3 in Stockholm. The clothesare inspired by Reuterswärd’s quest to leave his job at the dry cleaner in order to focus on an artistic career. The artists have registered Anders Reuterswärd as a trademark at the Swedish Patent and Registration Office. The clothes will be accompanied by a new soundtrack composed by the musician Zhala, using sound recordings from dry cleaners.


Economic and financial structures govern our lives increasingly. But, for most people, terms such as repo rates, tax havens, and derivatives are abstract and difficult to grasp. The artistic practice of Goldin+Senneby masters economic strategies and thus punctures the idea that this kind of knowledge is too complex to acquire. Instead of rejecting the financial sector, the artist duo borrows market-inspired methods in order to infiltrate and illuminate the consequences of our late capitalist system and its neoliberal approach. The retrospective highlights the precarious labor market of our time, the increased commercialization of the art world, and the new all-time highs and stock market crashes within financial economics.


Standard Length of a Miracle is a mutating retrospective, meaning it will appear in different forms in different cities. The first, in Stockholm, activates Goldin+Senneby’s history thorough connections between their works and various institutions and activities in the city. Additional mutations are scheduled for Brisbane, Paris, and New York.


Part of the exhibition is Goldin+Senneby’s research project at the Royal Institute of Art in Stockholm, which is presented through the magic show On a Long Enough Time Line The Survival Rate for Everyone Drops to Zero (2015) and the magic box Zero Magic (2016).


New Visions, a group show of wall-based works, is shown collaterally at Tensta konsthall. It features work by the artists Rana Begum, Nadia Belerique, Monir Farmanfarmaian, David Maljkovic, Philippe Parreno, Adam Pendleton, and Yelena Popova. The exhibition is curated by Maria Lind in accordance with Goldin + Senneby’s desire to create a dialogue with their new works at Tensta konsthall.