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Goldin+Senneby (since 2004) is a framework for collaboration set up by artists Simon Goldin and Jakob Senneby; exploring juridical, financial and spatial constructs through notions of the performative and the virtual. Their collaboration started with The Port (2004-06); acting in an emerging public sphere constructed through digital code. In their more recent body of work, known as Headless (2007 -), they approach the sphere of offshore finance, and its production of virtual space through legal code. Looking at strategies of withdrawal and secrecy, they trace an offshore company on the Bahamas called Headless Ltd. A ghostwritten detective novel continuously narrates their investigations. Since 2010 their work has focused on The Nordenskiold Model, an experiment in theatrical finance, in which they attempt to (re)enact the anarcho-alchemical scheme of 18th century alchemist August Nordenskiold on the financial markets of today.

Solo exhibitions include: ‘Standard Length of a Miracle’, Tensta konsthall, Stockholm (2016); ‘M&A’, Artspace NZ, Auckland (2013); ‘I dispense, divide, assign, keep, hold’ NAK, Aachen (2012); ‘The Decapitation of Money’, Kadist, Paris (2010); ‘Headless. From the public record’, Index, Stockholm (2009); ‘Goldin+Senneby: Headless’, The Power Plant, Toronto (2008). Group exhibitions include: ‘The Eighth Climate’, 11th Gwangju Biennial (2016); ‘Art Turning Left’, Tate Liverpool (2013); ‘Mom, am I barbarian?’, 13th Istanbul Biennial (2013); ‘The Deep of the Modern’, Manifesta 9, Genk (2012); ‘The End of Money’, Witte de With, Rotterdam (2011); ‘The Moderna Exhibition’, Moderna Museet, Stockholm (2010); ‘In living contact’, 28:th Bienal de Sao Paulo (2008). Residencies include: Headlands, San Francisco (2012); SALT, Istanbul (2012); Kadist, Paris (2010); Gasworks, London (2008); IASPIS, Stockholm (2007).

Solo exhibition:

2018 Secrets of Trade, Nome, Berlin
2017 Goldin+Senneby: Standard Length of a Miracle (The Bootleg), IMA, Brisbane
2017 Goldin+Senneby: Secrets of Trade, CFHill, Stockholm
2016 Goldin+Senneby: Standard Length of a Miracle, curated by Maria Lind, Tensta konsthall a.o., Stockholm
2014 M&A, SBC Gallery, Montréal
2013 ANTI-VWAP, curated by Siobhan Carroll, Collective, Edinburgh
2013 VWAP, curated by Aileen Burns & Johan Lundh, CCA Derry-Londonderry
2013 M&A, curated by Caterina Riva, ArtspaceNZ, Auckland
2013 M&A, curated by Aaron Kreisler, DPAG, Dunedin
2012 I dispense, divide, assign, keep, hold, curated by Dorothea Jendricke, NAK, Aachen
2012 Money Will Be Like Dross, Crystal & Drottningholms Slottsteater, Stockholm
2011 Standard Length of a Miracle, curated by Valentinas Klimasauskas, CAC, Vilnius
2010 The Nordenskiöld Model: Act 1, curated by Kim Einarsson, Konsthall C, Stockholm
2010 The Decapitation of Money, curated by Sandra Terdjman, Kadist Art Foundation, Paris
2009 Headless. From the Public Record, curated by Mats Stjernstedt & Helena Holmberg, Index, Stockholm
2008 Goldin+Senneby: Headless, curated by Gregory Burke, The Power Plant, Toronto

Group exhibitions and events:

2018 Work Marathon, Serpentine Gallery, London
2018 Extra States: Nations in Liquidation, Extra City, Antwerpen
2018 The Fabric of Felicity, Garage, Moscow
2018 I Was Raised on the Internet, curated by Omar Kholeif, MCA Chicago
2018 Title II, curated by Christopher Kulendran Thomas, Galerie Antoine Ertaskiran, Montréal
2017 Manipulate the World, Moderna museet, Stockholm
2017 Dörren i muren, curated by Hans Carlsson, Konstfrämjandet Skåne
2017 Greater Together, curated by Annika Kristensen, ACCA, Melbourne
2017 The Proxy and Its Politics, Haus der Kulturen der Welt, Berlin
2017 Exchanging Money for Work, curated by Iben Bach Elmstrøm, SixtyEight, Copenhagen
2017 To Refuse /To Wait /To Sleep, curated by Lorna Brown, Belkin Art Gallery, Vancouver
2017 Sugar and Speed, curated by Stefanie Hessler, Museu de Arte Moderna Aloisio Magalhães (MAMAM), Recife
2017 Artefact: The Act of Magic, curated by Karen Verschooren & Ils Huygens, STUK, Leuven
2016 Games People Play, curated by Katia Krupennikova, NEST, The Hague
2016 11th Gwangju Biennale: The Eighth Climate, curated by Maria Lind, Gwangju
2016 Survival Kit 8: Acupuncture of Society, curated by Solvita Krese, Riga
2016 The Year of the Moiré, curated by Margarida Mendes, Galeria Pedro Alfacinha, Lisbon
2016 The Money Show, curated by Catherine Hemelryk, NN Contemporary Art, Northampton
2016 Teesside World Exposition, curated by Miguel Amado, MIMA, Middlesbrough
2016 Les Incessants, curated by Celine Poulin, Villa du Parc, Annemasse
2016 Nervous Systems, curated by Tactical Tech & Anselm Franke, Haus der Kulturen der Welt, Berlin
2016 FLUIDITY, curated by Bettina Steinbrügge, Nina Möntmann & Vanessa Joan Müller, Kunstverein in Hamburg
2015 On Being in the Middle, curated by Alfredo Cramerotti, Galerie Hubert Winter, Vienna
2015 Ytterstad, Johan Berggren Gallery, Malmö
2015 Alfred Jarry Archipelago, curated by Keren Detton & Julie Pellegrin, Le Quartier, Quimper
2015 Imaginary Accord, curated by Aileen Burns & Johan Lundh, IMA, Brisbane
2015 Sources Go Dark, curated by Silvia Franceschini & Valerio Borgonuovo, Futura, Prague
2015 OFF Biennale Budapest
2014 L’avenir (looking forward), curated by Gregory Burke & Peggy Gale, La Biennale de Montréal
2014 Show Me the Money, John Hansard Gallery, Southampton
2014 600 Mio., curated by Barbara Steiner, Künstlerhaus, Vienna
2014 Les Forces Occultes, curated by Arnaud Dejeammes, Le 180, Téteghem
2014 Getting Rid of Ourselves, curated by Helena Reckitt, Onsite [at] OCAD U, Toronto
2014 Show Me the Money, Northern Gallery for Contemporary Art, Sunderland
2014 Art and Alchemy, Museum Kunstpalast, Düsseldorf
2014 Transfert de Fonds, curated by Arnaud Dejeammes, Galerie NaMiMa, Nancy
2013 Art Turning Left, curated by Francesco Manacorda, Tate Liverpool
2013 Things Behind The Sun, NON, Istanbul
2013 To the Reader, curated by Benjamin Fallon, BAK, Utrecht
2013 13th Istanbul Biennial: Mom, Am I Barbarian?, curated by Fulya Erdemci, Istanbul
2013 Liquid Assets, curated by Katerina Gregos & Luigi Fassi, Steirischer Herbst, Graz
2013 Requiem for a Bank, curated by Fabian Saavedra-Lara, HMKV, Dortmund
2013 0 Performance, curated by Mirjam Varadinis, Special project, 5th Moscow Biennial, Moscow
2013 Over the Valley, curated by Lucy Chinen, Steve Turner Contemporary, Los Angeles
2013 Connect Four: The Bet, curated by Ellen Blumenstein, KunstWerke, Berlin
2013 Maintenance Required, curated by Whitney Independent Study Program, The Kitchen, New York
2013 The Possibility of an Island, curated by Elena Gilbert & Nadim Samman, Import Projects, Berlin
2013 The Nordic Model, curated by Cecilia Widenheim, Malmö Konstmuseum, Malmö
2013 The Magic of the State, curated by Silvia Sgualdini, Lisson Gallery, London
2013 Sy­ndrome, curated by Martí Manen, La Capella, Barcelona
2013 The Magic of the State, curated by Silvia Sgualdini, Beirut, Cairo
2013 The Book Lovers, curated by David Maroto & Joanna Zielinska, EFA, New York
2012 Abstract Possible: The Birmingham Beat, curated by Maria Lind, Eastside Projects, Birmingham
2012 Material Information, curated by Juan A. Gaitan, Bergen
2012 Counter-Production, curated by Diana Baldon & Ilse Lafer, Generali Foundation, Vienna
2012 West of East, curated by Lena Prents, Gallery Y, Minsk
2012 Manifesta 9: The Deep of the Modern, curated by Cuauhtémoc Medina, Genk
2012 Skabt af tiden, curated by Milena Hoegsberg & Julie Sass, Nationalmuseum, Copenhagen
2012 Not surprisingly, he is wearing gloves, curated by FormContent, Eastside Projects, Birmingham
2012 Abstract Possible: The Stockholm Synergies, curated by Maria Lind, Tensta Konsthall, Stockholm
2011 Homo Economicus, curated by David Bussel, MD 72, Berlin
2011 Secret societies, curated by Cristina Ricupero & Alexis Vaillant, CAPC, Bordeaux
2011 Power to the People, curated by Hannah Mathews, ACCA, Melbourne
2011 Göteborg International Biennial, curated by Sarat Maharaj, Gothenburg
2011 Scenarios about Europe, curated by Felix Vogel & Markus Miessen, GfZK, Leipzig
2011 Secret societies, curated by Cristina Ricupero & Alexis Vaillant, Schirn Kunsthalle, Frankfurt
2011 After Microsoft, a response by Rick Prelinger, invited by Joseph del Pesco, Kadist, San Francisco
2011 Gone to Croatan, curated by Daniel Muzyczuk & Robert Rumas, HMKV, Dortmund
2011 The End of Money, curated by Juan Gaitan, Witte de With, Rotterdam
201124 advertisements, curated by Jacob Fabricius, various magazines
2011 Intermission Project, curated by Jesse McKee, Western Front, Vancouver
2011 Abstract Possible: The Tamayo Take, curated by Maria Lind, Museo Tamayo, Mexico City
2010 Abstract Possible: The Trailer, curated by Maria Lind, Malmö Konsthall, Malmö
2010 Map Marathon, Curated by Hans Ulrich Obrist, Serpentine Gallery, London
2010 The Moderna Exhibition, Moderna Museet, Stockholm
2010 Hydrarchy, curated by Anna Colin & Mia Jankowicz, Gasworks, London
2010 Un exposition (du) sensible, curated by Mathieu Copeland, La Synagogue de Delme
2010 Uneven geographies, curated by Alex Farquharson & T.J. Demos, Nottingham Contemprary, Nottingham
2010 Bucharest Biennale 4, curated by Felix Vogel, Bucharest
2010 Les Ateliers de Rennes, curated by Raphaele Jeune, Rennes
2010 The Headless Conference, arranged by Brian Droitcour & Ginny Kollak, New Museum, New York
2010 The Office for Parafictional Research, curated by Ginny Kollak, CCS Bard, Annandale-on-Hudson
2009 The Malady of Writing, curated by Chus Martínez, MACBA, Barcelona
2009 Feedforward: The Angel of History, curated by Christiane Paul & Steve Dietz, LABoral, Gijon
2009 Flexible Aura, curated by Hyunjoo Byeon & Christine Takengny, Brain Factory, Seoul
2009 Is a book, is a shop, is a show, curated by Maja Wismer & Egija Inzule, Survival Kit, LCCA, Riga
2009 Voice Over, book launch, Iaspis in Venice
2009 The Man behind the Curtain, Mission 17, San Francisco
2009 TINA, conceived by Olivia Plender, Hatton Gallery, Newcastle
2008 28th Bienal de Sao Paulo, curated by Ivo Mesquita & Ana Paula Cohen, Sao Paulo
2008 TINA, conceived by Olivia Plender, The Drawing Room, London
2008 Reality Effects, curated by Tone Hansen & Caroline Ugelstad, Henie Onstad Kunstsenter, Oslo
2008 Data Recovery, curated by Ovul Durmusoglu, Gamec, Bergamo
2008 Terms of Use, curated by Lisa Rosedahl, Centro Cultural Montehermoso, Vitoria-Gasteiz
2008 Disclosures, Gasworks, London
2008 John Barlow Gone Offshore, Canal, London
2008 Manual (CC), CSW Centre for Contemporary Art, Warsaw
2008 MyComputer, 300m3 Art Space, Gothenburg
2008 Looks Conceptual, curated by Kiki Mazzucchelli, Galeria Vermelho, Sao Paolo
2007 Who Makes and Owns Your Work, Årsta Folkets Hus, Stockholm
2007 Twentyfourseven, Signal, Malmö
2007 Big Family Business, curated by Adnan Yildiz, Istanbul
2007 Open Studios, IASPIS, Stockholm
2007 Manual (CC), Kronika, Bytom
2007 The Spam Show, Curated by Dessislava Dimova
2007 Moscow Saloon, WPS1 Radio, New York
2007 Book reading, Konst Akademiens Bibliotek, Stockholm
2007 Book reading, UKS, Oslo
2007 Paris was yesterday, curated by Hanne Mugaas, La Vitrine, Paris
2006 Gala Night of the Cannibals, Jan van Eyck Institute, Maastricht
2006 Travelling Magazine Table, IASPIS, Stockholm
2006 Flack Attack release event, Bologna, Boulder, Palo Alto, Stockholm
2006 No hay banda, Tensta Konsthall, Stockholm
2005 Artport, Whitney Museum of American Art, curator Christiane Paul, New York
2005 Game Dump, Bergen Kunsthall, Bergen
2005 The Port inauguration, Stockholm


2015 On a Long Enough Timeline the Survival Rate for Everyone Drops to Zero, Checkpoint Helsinki
2015 Landed (Freeman’s Wood), Storey G2, Lancaster
2012 Abstract Possible, Curated by Maria Lind, Abstract Possible at Bukowskis, Stockholm
2010 Lot 36: Fiction on Auction, Offer & Exchange #4, Electra, curated by Lisa Rosendahl & Daniel McClean, Chrisites, London
2009 Shifting Ground, Mountains of Butter, Lakes of Wine, Almost Real Stage 5, curator Maria Lind, European Cultural Foundation


2017 (UPCOMING) Manipulate the World, Moderna museet, Stockholm

Grants, Residencies and Prizes:

2012 Headlands, Artist in Residence, San Francisco
2012 SALT, Artist in Residence, Istanbul
2010 Kulturstipendium (culture grant), City of Stockholm
2010 Kadist Foundation, Artist in Residece, Paris
2008 Working grants, Swedish Arts Grants Committee
2008 28th Bienal de Sao Paulo, Artist in Residence, Sao Paulo
2008 Gasworks, Artist in Residence, London
2007 Iaspis, Artist in Residence, Stockholm
2006 Skapande Människa prize

Public collections:

Centre Pompidou (since 2016)
Malmö Konstmuseum (since 2013)
Moderna Museet (since 2011)
Kadist Art Foundation (since 2010)
Whitney Artport, online (since 2005)

Selected bibliography:

Arndtzén, Mårten. “Vems är konsten? Ett reportage om evig anställning”, SR P1, 13 Feb 2018.
Burke, Gregory (ed), Goldin+Senneby: Headless, The Power Plant, Toronto, 2009
Burke, Gregory. “Predictions: Art and the future”, Art & Australia, Winter 2012, pp. 667-669
Cameron, Angus.“Modelling Headless”, Journal of Critical Globalisation Studies, Issue 7, 2014, pp. 102-121
Connell, Liam. “17. Globalization and Transnationalism” in The Routledge Companion to Experimental Literature, Routledge, 2012, pp. 233-236
Demos, T.J., “Openings: Goldin+Senneby”, Art Forum, March 2011, pp. 252-254
Demos, T.J., The Migrant Image, Duke University Press, 2013, pp. 163-168
Droitcour, Brian. “Interview with Goldin+Senneby”,, Feb 4, 2009
Einarsson, Kim. “Nameless Acting”, Geist, no 11, 12, 14, 2007-08, pp. 105-117
Fiduccia, Joanna. “Review: Goldin+Senneby, Kadist Art Foundation”, Art Forum, Oct 2010, pp. 289-290
Gopnik, Blake. “Critic’s Pick: Goldin+Senneby., Jan 30, 2009
Grant, Philip. “Too Real an Unreality: Financial Markets as Occult. e-flux journal #62, 02/2015
Hamilton Faris, Jaimey. Uncommon Goods, Intellect Books, 2013, pp. 117-124
Kitamura, Katie. “Goldin+Senneby: Zero Magic”, Manipulate the World, König Books, 2017, pp. 98-107
Kleinman, Adam. “Goldin+Senneby Divulge The Darkest Tricks Of The Trade”, Frieze, No 197, September 2018
Kollak, Ginny. “True Lies, Tired Hedonists”, Alphabet Prime, No 1, Fall 2009, pp. 25-28
Laia, João. “Review: Goldin+Senneby, CCA Derry-Londonderry”, Frieze, No 157 September 2013
Lechner, Marie. “La finance, monstre sans tête”, Liberation, Le Mag 18-19 Sept 2010, pp. XIV-XV
Lind, Maria. “Maria Lind in conversation with Goldin+Senneby: An Opera”,, December 22, 2016
Marsh, Nicky. “Reading Goldin+Senneby’s Headless, Intersubjectivity Vol. 1, Sternberg Press 2016, pp. 102-111
Morisset, Vanessa. “Participation for sale!”, Esse, No 73, Autumn 2011, pp. 30-35
Paul, Christiane. Digital Art, Thames & Hudson, London, 2008, pp. 241-243
Provan, Alexander. “Headless Commercial Thriller”, Triple Canopy, Issue 18, 2013
Ringborg, Theodor. “Critic’s Pick, Stockholm”., Jan 27, 2012
Scheper, Moritz. “Text und Ereignis”, Springerin, Winter 2017, pp. 51-55
Teets, Jennifer. “Goldin+Senneby at Kadist Art Foundation, Paris”,, June 30, 2010