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C. Grace Chang

@grapes_chang

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@iaspis.se @mmcakorea residency ‘26 @swedish_arts_grants_committee working grant ‘26-27
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Pictures from the last couple of days, including a quick trip to Incheon #mmcaresidencychangdong #incheonartplatform #jjajangmyong #chakiyoul #leejuhyun by @grapes_chang

11월 20일 오픈스튜디오에서 만나요. by @grapes_chang

C. Grace Chang, IASPIS Artist in Residence at MMCA, Changdong, Seoul
30 September–9 December 2026
@grapes_chang @iaspis.se @mmcakorea

C. Grace Chang is an artist and curator based in Malmö, Sweden. Working across sound, text, and experimental moving image, her practice departs from decolonial theory and critical race studies to build interactive installations that explore the historiographical, political, and emotional realities of those theories. Inspired by Eve Tuck and K. Wayne Yang’s 2014 paper “Unbecoming Claims: Pedagogies of Refusal in Qualitative Research”, she uses refusal (of the colonial gaze) as a starting point to reflect on joy, justice, and remembrance in mainstream discourse—and in possible realities that center those in the margins.

During the residency, her project will use music theory (tintinnabulation) and quantum ontologies (superposition, many worlds theory) to build soundscapes shaped by Korean traditional musical practices, essays, and speculative fiction about both the Korean diaspora and alternate timelines. She will consult local experts on traditional instruments and vocal practices. Chang’s project examines memory, grief, radical hope, and connection across parallel worlds.

Chang just received the Swedish Arts Grants Committee’s working grant (2026–2027). Last spring, she was production manager for the touring stage adaptation of Lee Langvad’s book She is Angry (2014). In 2024–2025, she led the pre-study Public Art in the Digital Infrastructure (funded by Kulturbryggan) and co-wrote the research paper. Recent exhibitions include: As smoke unfurling, Krognoshuset (solo, Lund), 2024; Other Worlds, OPD3 (group, Copenhagen), 2024; no direction home (PROSPER Evia Residency exhibition), Greece, 2024; and Save Your Hail Marys!, Konstnärshuset (Stockholm), 2023.

She holds two M.A. degrees from Lund University (Visual Culture, 2018; Literature, Culture & Media, 2016), and a B.A. from Smith College (English Language and Literature, 2011; playwriting specialization; minor: East Asian Languages and Literatures).

Photo: C Grace Chang, Krognoshuset, 2024. by @grapes_chang

Repetitioner pågår!
Några bilder av @grapes_chang från de pågående arbetet med att iscensätta Lee Langvads Hun er vred.

Vi är så glada att Emil Henried och Andrea Yang-Nam Svensson följer våra repetioner. Och tack Fabian Grytt för 4000 textskyltar.

På scen: Uma Feed (NO), Sunniva Vikør
Egenes (NO), Daniel Jeremiah Persson
(SE), Solvej Kyung-Sook Christiansen (DK)
Regi och bearbetning: Saga Gärde
Dramaturg: Idun Vik
Konstnärlig konsultation:
Andrea Yang-Nam Svensson
Movement Direction: Khamlane Halsackda i samarbete med ensemblen
Scenografi och kostym: Katrin Brännström
Ljusdesign: Ellen Ruge
Video: Taekyung Tanja InWol Sørensen
Musik: Daniel M Karlsson
Produktionsassistent: Emil Henried
Tekniskt ansvarig: Benjamin Dahlberg
Programmering: Fabian Grytt, Benjamin Dahlberg

Hun er vred/arg/sint är en samproduktion
mellan AMFI och norska plattformen
Cornerstone i samarbete med Kvinno-
historiska, Fri scen och Blaagaard Teater.

Projektet görs med stöd av Norsk Kulturråd,
Svenska Kulturrådet, Nordisk Kulturfond,
Region Stockholm, Stockholm stad, Region
Skåne, Fond for lyd og bilde, Fond for
utøvende kunstnere, Fritt Ord, Haut och
Konstnärsnämnden.

Hun er vred/arg/sint spelas 18-22 mars Fri scen, Kulturhuset Stadsteatern, Stockholm. Länk till biljetter i bio. Följ vårens gästspel i Bergen, Oslo och Köpenhamn på amfiplay.se och cornerstones.no.

#hunervred #leelangvad #amfiplay #transnationaladoption #DoKAD by @grapes_chang

Se iscensättningen av Lee Langvads Hun er vred 18-22 mars i Stockholm på Kulturhuset Stadsteatern! by @grapes_chang

Tack alla ni som kom till vårt samtal om praktik, språk och levd erfarenhet med Uma Feed och Daniel Jeremiah Persson på Kulturhuset Stadsteatern igår!

Inför iscensättningen av Lee Langvads Hun er vred arrangerar vi i samarbete med @kvinnohistoriska och @friscenstockholm flera samtal. Igår talade scenkonstnärerna Uma Feed och Daniel Jeremiah Persson som både medverkar i Hun er vred/arg/sint, om deras individuella konstnärliga praktiker och utmaningarna i att arbeta med transnationell adoption i dans och scenkonst. Samtalet modererades av C. Grace Chang, konstnär och curator.

Hun er vred/arg/sint spelas 18-22 mars Fri scen, Kulturhuset Stadsteatern, Stockholm. Biljett bokas via Kulturhusets hemsida. Följ vårens gästspel på amfiplay.se och cornerstones.no.

Foto: @saga_sejourer

#hunervred #leelangvad #amfiplay #transnationaladoption #DoKAD by @grapes_chang

“Every lost story is a hungry ghost” by C. Grace Chang examines the possibility of grief as a foundation for new life in both tangible and intangible ways. The video installation was featured in the Diaspora Dreams: Other Worlds exhibition 🎐 @grapes_chang by @grapes_chang

λεμόνι lemon ليمون citron

This sound-based work explores the connection between food, place, and memory. Though we may lose places in many ways—war, politics, climate change, migration, time—they live on in our stories. During a series of recorded interviews over local produce, participants narrate memories that resurface with each bite, transporting us to places frozen in time.

This project aims to map out memories of such places, and how they might be resurrected. How taste and place are connected. How grief and climate change intertwine. How, through all of this, memory becomes an indestructible force.

Throughout this residency, I conducted these interviews with locals restoring their lands in southern Evia through regenerative farming techniques. Over small bowls of local produce—lemon, prickly pear, pomegranate, rosemary, olives, and more—together we ate the foods one by one.

In these recorded sessions, we explore these memories in their mother tongues or languages of preference (Greek, Arabic, English, French). Memory comes from a deep place, and I wanted the most direct experience possible.

You are invited to rest in these hammocks or chairs, to gaze out at the sea and let the sounds of memory wash over you, to remember/resurrect your own lost places.

In this ongoing project, I am archiving place through memory and local tastes.
___________________
C. Grace Chang (Artist, Curator, Filmmaker)

C. Grace Chang (b. 1989, USA) is an artist, curator, and filmmaker based in Malmö. Born and raised in New Jersey, she is a Fourth Culture Kid and often explores liminality in her work. She combines decolonial theory with moving image, sound, and installation to examine the construction of visual safe havens, coded power structures, and refusal as a starting point.

While her works rely on theory, they are also rooted in grief, joy, and both collective and individual memory. Often using bright colors and fantastical elements in immersive installations, she explores futurity, care, and worlds beyond the colonial gaze. by @grapes_chang

Plattform KcSyd have received support from Kulturbryggan for the project 𝒫𝓊𝒷𝓁𝒾𝒸 𝒜𝓇𝓉 𝒾𝓃 𝒟𝒾𝑔𝒾𝓉𝒶𝓁 𝐼𝓃𝒻𝓇𝒶𝓈𝓉𝓇𝓊𝒸𝓉𝓊𝓇𝑒.

The project 𝒫𝓊𝒷𝓁𝒾𝒸 𝒜𝓇𝓉 𝒾𝓃 𝒟𝒾𝑔𝒾𝓉𝒶𝓁 𝐼𝓃𝒻𝓇𝒶𝓈𝓉𝓇𝓊𝒸𝓉𝓊𝓇𝑒 is a pre-study about finding new ways of financing artistic work—based on the Swedish principle of 1% to public art—within society’s digital public space, infrastructure and digitalization of the public sector.

Project manager is artist and curator C. Grace Chang, in collaboration with Jamila Drott and Sophia Persson from Konstnärscentrum Syd/Plattform KcSyd.

@grapes_chang
@jamiladrott
@s666phia
@konstnarscentrum_syd
@kulturbryggan
@swedish_arts_grants_committee

𝒫𝓊𝒷𝓁𝒾𝒸 𝒜𝓇𝓉 𝒾𝓃 𝒟𝒾𝑔𝒾𝓉𝒶𝓁 𝐼𝓃𝒻𝓇𝒶𝓈𝓉𝓇𝓊𝒸𝓉𝓊𝓇𝑒 is supported by Kulturbryggan Fröpengar: Nya finansieringsmodeller. by @grapes_chang

So psyched to moderate this panel talk Sunday 22/9 with @athenafarrokhzad @saga_sejourer @suviwest for @nordiskpanorama !

We kick off at 14:00 with a screening of Archives of Oblivion (30min) at @panora_malmo . After, we’ll start the talk “Art and Collective Memory: The Politics of Remembrance”!

We’ll get into both projects @glomskansarkiv @mahccanhomecoming and dive into remembrance beyond trauma—who gets to be remembered, how, and by whom? Whose stories are permitted (by whom) to endure and in what contexts?

Btw just saw this leaflet yesterday. Umm, the event is listed as a festival highlight?? 🥹🥹💗

#paneltalk #filmfestival #archivesofoblivion #máhccan #film #art #remembrance #konst #kunst #minnesprojekt #kollektivminnen #nomoretraumaporn by @grapes_chang

Exhibition photos for the artwork on the lower floor of @krognoshuset right now: “Every lost story is a hungry ghost” (2024). This installation uses projection on embossed gold metallic fabric and mixed audio from both the film and a lyric essay I wrote and recorded at @interartscenter .

Projecting onto this shimmering, textured fabric makes the video feel as if it’s appearing in running water.

The lyric essay (took 7 different recording sessions to get right, btw!!) shifts between personal and collective loss, migration, buried histories, the long fight for civil rights and social justice, moments of tenderness, and the intertwining of decay and growth/movement. The repeated effort to regrow what was trampled/excised both out of history and out of our individual lives. This was a tough one to nail, especially as I was bedbound again this summer. #endometriosis

I really wanted to write something that wove together the personal effects of the political, and the political effects of the personal. That theory and history are lived—are alive—and full of emotion and personal (and collective) ramifications.

The video component is one of the last remaining recordings I have of a rotting pier in New Jersey, right by where I grew up. It overlooks upper Manhattan, and it used to be part of a grand restaurant, which was on a decommissioned historic steamboat on the Hudson. It rotted slowly over the course of many years after a bad storm in the early 2000s. I’d watched it in intervals and, after moving to Sweden, I’d check in with it during each visit, watching it decay over time. Like my life back home was withering away with it. The New York I remembered was also going/gone. A thought that didn’t really hit me until my grandmother’s passing in 2014. I looked at the Hudson and felt like it looked back at all this, like some undying witness.

I wanted this work to feel like it could speak to the bigness and intertwined nature of this particular experience. A weird but common gordian knot of things.

Photo credit: @mrtenlange

#art #konst #kunst #installationart #exhibition #udstilling #utställning #lund #malmö #skåne #videoart #textile #gold #water #witness by @grapes_chang

Detail from “A Thousand Flowers”, a sort of companion installation on view at @krognoshusetlund til Oct 6. There are ~1000 sticks of incense in this sand atop this bright raspberry podium.

The sticks are what was left after several filming attempts to make the video component of the artwork “As smoke unfurling”, located on the gallery’s upper floor.

I’d thought about each individual stick as a marker of the ritual that had burned it down, of the time and effort spent. I also started to think of them as markers of people and histories that have disappeared from our memories over time. Wandering spirits and information whose passing should be marked somehow, even if the details are forever gone.

I went back and forth with putting the sticks in the gallery. In the end, it felt like the right choice. The exhibition is as much about growth, connection, and rebirth as it is about remains and decay.

Plus, I can’t seem to resist a bit of trash now and then. (My phone storage is probably 70% photos of my dog. 5% lovely memories. 25% weird things I find on the ground in public.)

Photo credit: @mrtenlange

#art #konst #kunst #exhibition #utställning #udstilling #installationart #skåne #skane #lund #memory #decay by @grapes_chang