Sasha Bergstrom-Katz

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<channel>
	<title>Sasha Bergstrom-Katz</title>
	<link>https://sashabk.com</link>
	<description>Sasha Bergstrom-Katz</description>
	<pubDate>Mon, 25 Apr 2022 12:38:44 +0000</pubDate>
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		<title>Front page</title>
				
		<link>https://sashabk.com/Front-page</link>

		<pubDate>Mon, 25 Apr 2022 12:38:41 +0000</pubDate>

		<dc:creator>Sasha Bergstrom-Katz</dc:creator>

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		<description>Recent ProjectsOn the Subject of Tests: Performing with Objects
&#60;img width="2880" height="1778" width_o="2880" height_o="1778" data-src="https://freight.cargo.site/t/original/i/8f6e26b979005b60e3ef60daa7faab7adfac17b08c8e8a69ebf6b147ad976045/Screenshot-2023-09-26-at-15.36.28.png" data-mid="191906152" border="0"  src="https://freight.cargo.site/w/1000/i/8f6e26b979005b60e3ef60daa7faab7adfac17b08c8e8a69ebf6b147ad976045/Screenshot-2023-09-26-at-15.36.28.png" /&#62;
On the Subject of Tests: Performing with Objects understand intelligence test kits as ‘readymade performances’. Therein, the test kits at once dictate the rules of a performace (via the manual), provide the most necessary and crucial props (the subtests), and are packaged up, ready to be carried from place to place. All that is necessary to perform the test now is a competent performer (the examiner).&#38;nbsp;

&#38;gt;&#38;gt; See more


On the Subject of Tests: 
Rhetoric of a Box


&#60;img width="4761" height="3401" width_o="4761" height_o="3401" data-src="https://freight.cargo.site/t/original/i/e5c5dfd2b23e257c860f6d42a12c9d20cf04b723699654319b6f71f2cedfac72/IMG_0026-291.jpg" data-mid="140613535" border="0"  src="https://freight.cargo.site/w/1000/i/e5c5dfd2b23e257c860f6d42a12c9d20cf04b723699654319b6f71f2cedfac72/IMG_0026-291.jpg" /&#62;
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On the Subject of Tests: Rhetoric of a Box&#38;nbsp;is a collection of over 800 photographs of intelligence tests developed in the United States. Part of an expansive ongoing project, this archive explores the aesthetic dimensions of commonly used twentieth-century intelligence tests in relationship to their entanglement in the history of eugenics, military and prison regimes and the neoliberalisation of workplaces and schools. The photographs explore the tests’ visual cultures by training a careful eye to each and every object within each kit, looking to see what messages and morals leak through consciously and unconsciously in their designs.
&#38;gt;&#38;gt; See more


On the Subject of Tests:
 Rehearsing the Examination&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4380be633a9f967d40c7da8e7f4e484f0bd6de41c8062f94b044a5f3d02400d3/IAC30.08.21_Lesley.jpg" data-mid="141826540" border="0"  src="https://freight.cargo.site/w/1000/i/4380be633a9f967d40c7da8e7f4e484f0bd6de41c8062f94b044a5f3d02400d3/IAC30.08.21_Lesley.jpg" /&#62;
On the Subject of Tests: Rehearsing the Examination


envisions a psychometric examiner as an actor and the test as a prop
and therefore re-frames intelligence testing as a theatrical performance. In
doing so, this artistic research makes an inquiry into how an examiner performs
the tests as well as how a subject of the test is a participant, observer and
recipient of the performance all at once. &#38;nbsp;


&#38;gt;&#38;gt; See more


On the Subject of Tests: 
Test as Archive (Desk as Archive)
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/49953cad10d73ea37bee19b1c698dd6ba31d1f20c73b2465623691954d0a80db/IMG_0273.jpg" data-mid="141825828" border="0"  src="https://freight.cargo.site/w/1000/i/49953cad10d73ea37bee19b1c698dd6ba31d1f20c73b2465623691954d0a80db/IMG_0273.jpg" /&#62;

On the Subject of Tests: Test as Archive (Desk as Archive), 


presents an archival desk and video viewing area
as a space for exploration, meaning-making, engagement and interaction with an
array of materials concerning both intelligence tests, as well as objects,
images and articles that connect them to play, education, military recruitment,
formations of race and ethnicity and other forms of psychometrics. 


&#38;gt;&#38;gt; See more
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	<item>
		<title>Unpacking the Tests</title>
				
		<link>https://sashabk.com/Unpacking-the-Tests</link>

		<pubDate>Mon, 25 Apr 2022 12:38:41 +0000</pubDate>

		<dc:creator>Sasha Bergstrom-Katz</dc:creator>

		<guid isPermaLink="true">https://sashabk.com/Unpacking-the-Tests</guid>

		<description>On the Subject of Tests: 
Rhetoric of a Box


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On the Subject of Tests: Rhetoric of a Box&#38;nbsp;is a collection of over 800 photographs of intelligence tests developed in the United States. Part of an expansive ongoing project, this archive explores the aesthetic dimensions of commonly used twentieth-century intelligence tests in relationship to their entanglement in the history of eugenics, military and prison regimes and the neoliberalisation of workplaces and schools. The photographs explore the tests’ visual cultures by training a careful eye to each and every object within each kit, looking to see what messages and morals leak through consciously and unconsciously in their designs.


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	<item>
		<title>Rehearsing the Examination</title>
				
		<link>https://sashabk.com/Rehearsing-the-Examination</link>

		<pubDate>Mon, 25 Apr 2022 12:38:42 +0000</pubDate>

		<dc:creator>Sasha Bergstrom-Katz</dc:creator>

		<guid isPermaLink="true">https://sashabk.com/Rehearsing-the-Examination</guid>

		<description>
On the Subject of Tests: Rehearsing the Examination
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4380be633a9f967d40c7da8e7f4e484f0bd6de41c8062f94b044a5f3d02400d3/IAC30.08.21_Lesley.jpg" data-mid="141826667" border="0"  src="https://freight.cargo.site/w/1000/i/4380be633a9f967d40c7da8e7f4e484f0bd6de41c8062f94b044a5f3d02400d3/IAC30.08.21_Lesley.jpg" /&#62;
On the Subject of Tests: Rehearsing the Examination envisions a psychometric examiner as an actor and the test as a prop and therefore re-frames intelligence testing as a theatrical performance. In doing so, this artistic research makes an inquiry into how an examiner performs the tests as well as how a subject of the test is a participant, observer and recipient of the performance all at once.


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/fdb9f2fd3d0850f62b17366a206abafc00444741a2a94cc1afafddf718490f20/IAC30.08.21_Rebecca.jpg" data-mid="141826742" border="0"  src="https://freight.cargo.site/w/1000/i/fdb9f2fd3d0850f62b17366a206abafc00444741a2a94cc1afafddf718490f20/IAC30.08.21_Rebecca.jpg" /&#62;
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		<title>Test as Archive</title>
				
		<link>https://sashabk.com/Test-as-Archive</link>

		<pubDate>Mon, 25 Apr 2022 12:38:42 +0000</pubDate>

		<dc:creator>Sasha Bergstrom-Katz</dc:creator>

		<guid isPermaLink="true">https://sashabk.com/Test-as-Archive</guid>

		<description>On the Subject of Tests:Test as Archive (Desk as Archive)
&#60;img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/6dfbbd144ab6edb87d273554faba04768ec9c0e68467a06b31fd5423a23de460/IMG_0360.jpg" data-mid="141825459" border="0"  src="https://freight.cargo.site/w/1000/i/6dfbbd144ab6edb87d273554faba04768ec9c0e68467a06b31fd5423a23de460/IMG_0360.jpg" /&#62;

On the Subject of Tests: Test as Archive (Desk as Archive), presents an archival desk and video viewing area as a space for exploration, meaning-making, engagement and interaction with an array of materials concerning both intelligence tests, as well as objects, images and articles that connect them to play, education, military recruitment, formations of race and ethnicity and other forms of psychometrics.


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	</item>
		
		
	<item>
		<title>On Magic</title>
				
		<link>https://sashabk.com/On-Magic</link>

		<pubDate>Mon, 25 Apr 2022 12:38:42 +0000</pubDate>

		<dc:creator>Sasha Bergstrom-Katz</dc:creator>

		<guid isPermaLink="true">https://sashabk.com/On-Magic</guid>

		<description>
On Magic: Effecting a Split &#38;amp; On Not Seeing

&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/64b834d29f1017c17b179efccad1683e2afe262fffa31fcc1336e96af6c05363/SBK-thesis1-sm.jpg" data-mid="141825976" border="0"  src="https://freight.cargo.site/w/1000/i/64b834d29f1017c17b179efccad1683e2afe262fffa31fcc1336e96af6c05363/SBK-thesis1-sm.jpg" /&#62;
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Effecting a Split borrows the transformation of Dr. Jekyll into Mr. Hyde and places it against a staged magic illusion that requires identical actors to perform a transportation, representing a self that is divided first inwardly and then outwardly. My interests in misdirection and visual cognition come into the project as the two scenes are placed in tandem and projected adjacent to each other in non-analogous takes. 


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&#60;img width="2000" height="1324" width_o="2000" height_o="1324" data-src="https://freight.cargo.site/t/original/i/a7b3c06ed99b79f96f07fae7c6c7c1d00ec5afd75e372ef97fc773ca7126a7e5/DSC_2733_2000_c.jpg" data-mid="141826020" border="0"  src="https://freight.cargo.site/w/1000/i/a7b3c06ed99b79f96f07fae7c6c7c1d00ec5afd75e372ef97fc773ca7126a7e5/DSC_2733_2000_c.jpg" /&#62;

On Not Seeing is a set of sculptures, each based on an object whose function relies on what is seen and what is hidden from view. Through a process-led intervention, I reveal the inner workings of the objects and, therefore, render them inoperative—transforming the objects into inert subjects of inquiry. Black Box Theory is modeled off of a theoretical diagram utilized in Behaviorism. Black Box Theory postulates that the mind is unknowable, therefore the only way to study the mind is to observe responses to stimuli. All that can be studied is what can be directly seen, the input and output, but not the mechanism that produces the result.Magic Ball &#38;amp; Vase is based upon a mass-produced magic trick. The trick purports to make a ball disappear from within a vase with a lid. The supposed disappearance is not performed sleight of hand, but instead part of the object itself. Here my interest lies in exposing the interior workings of the apparatus.

</description>
		
	</item>
		
		
	<item>
		<title>Exhibitions-Events-Writing</title>
				
		<link>https://sashabk.com/Exhibitions-Events-Writing</link>

		<pubDate>Mon, 25 Apr 2022 12:38:43 +0000</pubDate>

		<dc:creator>Sasha Bergstrom-Katz</dc:creator>

		<guid isPermaLink="true">https://sashabk.com/Exhibitions-Events-Writing</guid>

		<description>Exhibitions / Events / Writing&#38;nbsp;

2025On Creative Destruction: Getting to Understand an Object Through Play&#38;nbsp;(in Creative Disruption: Psychosocial Scholarship as Praxis, edited by Guilaine Kinouani, Hannah Reeves, and Clau Di Gianfrancesco. Palgrave Macmillan, 2025.)

&#60;img width="792" height="1124" width_o="792" height_o="1124" data-src="https://freight.cargo.site/t/original/i/65fd6bb6aa9c2cff33b399173630861104697a774aaf797403a18b688250e53c/Screenshot-2025-05-13-at-09.52.28.png" data-mid="233129615" border="0"  src="https://freight.cargo.site/w/792/i/65fd6bb6aa9c2cff33b399173630861104697a774aaf797403a18b688250e53c/Screenshot-2025-05-13-at-09.52.28.png" /&#62;
&#60;img width="1076" height="1366" width_o="1076" height_o="1366" data-src="https://freight.cargo.site/t/original/i/a935778cd7d395b6084d4cd37b9a7a9ee61d7d61af5ec7ef366051875171e81d/Screenshot-2025-05-13-at-09.52.12.png" data-mid="233129623" border="0"  src="https://freight.cargo.site/w/1000/i/a935778cd7d395b6084d4cd37b9a7a9ee61d7d61af5ec7ef366051875171e81d/Screenshot-2025-05-13-at-09.52.12.png" /&#62;
&#60;img width="938" height="444" width_o="938" height_o="444" data-src="https://freight.cargo.site/t/original/i/1b4596ada7475a4b843c9aece9e4108fa906aec2bb799a15162109bec90374ce/Screenshot-2025-05-13-at-09.52.02.png" data-mid="233129624" border="0"  src="https://freight.cargo.site/w/938/i/1b4596ada7475a4b843c9aece9e4108fa906aec2bb799a15162109bec90374ce/Screenshot-2025-05-13-at-09.52.02.png" /&#62;


Performing Science and Medicine, Guest teaching with Michele Luchetti at Bard College Berlin
&#60;img width="2486" height="1394" width_o="2486" height_o="1394" data-src="https://freight.cargo.site/t/original/i/ec8063e4adf75155d5bd3092c982db15b929d596421d3e80ebb5afece9f980f5/Screenshot-2025-03-26-at-10.55.59.png" data-mid="228811450" border="0"  src="https://freight.cargo.site/w/1000/i/ec8063e4adf75155d5bd3092c982db15b929d596421d3e80ebb5afece9f980f5/Screenshot-2025-03-26-at-10.55.59.png" /&#62;
Suitable for multi-disciplinary artists and humanities students alike, this course addresses the relationship between science, medicine, and society through a discussion of critical texts and creative activities inspired by art, performance, and theater. It uses works of theater and contemporary art alongside critical texts from the history, philosophy, and sociology of science and medicine to develop a conversation about the ways in which performances of science in the laboratory, the clinic and in the public sphere communicate key concepts and practices. These include ideas of objectivity, rationality, trust, power, as well as modes of faith and healing. The increasing complexity of science and its interactions with the social realm call for an expansion of traditional humanistic methodologies to encompass approaches that foster personal engagement, curiosity, creativity, and active criticism. For this reason, the course integrates seminar-style discussions of core historical, philosophical, and sociological topics on science and society with practical sessions that rely on arts-based activities to stimulate a creative first-person engagement with these topics. Further, it contributes to a timely study of the relationship between art and science. The overarching goal of the course is twofold. On the one hand, it aims at providing participants with key skills to critically engage and discuss issues related to science and society; on the other hand, it exposes them to a vast array of arts-based activities through writing, performance and art-making workshops during which they can act on their critical engagement and exercise a number of skills that are widely transferable within and outside of academia and art. Divided into three sections: Performing Experiments, Performing Medicine, and Public Performances, the course aims at a new understanding of the relation between science and medicine. 

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The Material Force of Categories (Special Issue), Co-edited with Tomas Percival, History of the Human Sciences

&#60;img width="1828" height="1328" width_o="1828" height_o="1328" data-src="https://freight.cargo.site/t/original/i/18eeff7023b8bcdc720659ac33579f5d77718373e2d208618ffd26ad7b870ff7/Screenshot-2025-03-26-at-10.48.28.png" data-mid="228810329" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/18eeff7023b8bcdc720659ac33579f5d77718373e2d208618ffd26ad7b870ff7/Screenshot-2025-03-26-at-10.48.28.png" /&#62;
The function of categories of the human sciences is a well-established field of scholarly inquiry, animated by debates over their capacity to reduce, exclude, determine, abstract, produce, loop, control, and/or restrain. This special issue takes an interdisciplinary perspective to investigate urgent questions about the ‘material force’ of categories as they operate in practice. Specifically, we emphasise the plasticity of categories and how their ambivalent boundaries can render their categorical forcefulness continuously operative. Categories morph and shift as they traverse different fields, re-articulating difference as they interact with divergent institutions and epistemic infrastructures. The five interdisciplinary articles in this issue explore the material force of categories across varied contexts, including the prison system, digital culture, legal frameworks, psychiatric diagnostics, and applied governmental research. In so doing, the special issue as a whole emphasises the capacious yet persistent nature of categorisation, revealing how, in multiple ways, categories can stabilise the management of people precisely through their inherent structures of contingency and ambivalence.
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On the Subject of Tests: Performing with Objects, Salon Talk,&#38;nbsp;Institute for Medical &#38;amp; Health Humanities and Artistic Research (IMHAR)

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/9bb7d4b54e388b08d194b01ff890b72c23c276a54a6a1fba0b38876d4fd9f563/IAC30.08.21_tests_2.2.1-1.jpg" data-mid="228810229" border="0"  src="https://freight.cargo.site/w/1000/i/9bb7d4b54e388b08d194b01ff890b72c23c276a54a6a1fba0b38876d4fd9f563/IAC30.08.21_tests_2.2.1-1.jpg" /&#62;

On the Subject of Tests is a multi-part project which recasts two twentieth-century intelligence tests, the Wechsler and Stanford-Binet Intelligence Scales, in a series of roles. It re-envisions the intelligence test kit as, in turn, an auto-archive, a rhetorical vessel, and a performance in a box. The project’s subsection, entitled Performing with Objects, uses artistic methods to reframe the test kits and their contents as props, highlighting both the materiality of the kits themselves, which are composed of toys, games, puzzles and booklets, and how these objects play a part in the performance of testing.
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2024
Art as Mental Imaging&#38;nbsp;Drawing Research Forum 2023/24 Sessions – Part 2, Drawing Room, London
&#60;img width="720" height="405" width_o="720" height_o="405" data-src="https://freight.cargo.site/t/original/i/9e27be809dc7adae2c5e202a51115441ce8ffd54d71a7154dff33f544aa983de/ArtAsMentalImaging3.jpg" data-mid="207027025" border="0" data-scale="96" src="https://freight.cargo.site/w/720/i/9e27be809dc7adae2c5e202a51115441ce8ffd54d71a7154dff33f544aa983de/ArtAsMentalImaging3.jpg" /&#62;Artworks, particularly drawings and paintings on paper, have a curious relationship with the field of psychology. This presentation focuses on the ways in which artworks have historically been used as objects of psychology and how they have been figured as 'ripe for interpretation' within the field. I am most interested in how the interpretation of drawings and paintings has been utilised in a multitude of attempts to concretely register psychological processes and states. ‘Art as a Mental Imaging’ pulls together three case studies from art therapy, psychoanalysis and mental testing to critically examine the ways in which drawings and paintings are registered and understood as medical and psychological images.

 
2023
Psychotechne:&#38;nbsp;Assessment, Testing, Categorisation, with Tomas Percival, Peltz Gallery, London
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/1ca336ba2ad3999520727a0011ec06bb34071b179948e0a44b9b263c72b2517b/Peltz_Psychotechne_22-edit.jpg" data-mid="191909179" border="0"  src="https://freight.cargo.site/w/1000/i/1ca336ba2ad3999520727a0011ec06bb34071b179948e0a44b9b263c72b2517b/Peltz_Psychotechne_22-edit.jpg" /&#62;

Psychotechne is a two-person exhibition of works by Sasha Bergstrom-Katz and Tomas Percival. The artistic research-based projects on view examine how individuals are assessed through tests, forms, and databases that utilise psychometric technologies. A variety of institutions—including educational, medical, and legal systems—utilise such assessments to inform decisions about the people they manage and use these techniques to categorise and move individuals. For example, the outcomes of tests can transfer children into different classrooms based on test-taking abilities; assessments are used to issue diagnoses which have the power to change how people are viewed and how they view themselves; and behavioural and mental health screenings are used to assign categories of “risk” within carceral and penal systems. The two artworks in this exhibition focus on particular case studies to explore how assessment, categorisation, and testing play an active role within institutional decision-making structures.
	
&#60;img width="640" height="427" width_o="640" height_o="427" data-src="https://freight.cargo.site/t/original/i/3bdfb95296bd7082cd8775187def32e8fefccd9ec17f60ced2ddc8e2838e95ab/P1000532.jpg" data-mid="191909396" border="0"  src="https://freight.cargo.site/w/640/i/3bdfb95296bd7082cd8775187def32e8fefccd9ec17f60ced2ddc8e2838e95ab/P1000532.jpg" /&#62;
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Left: Stanford-Binet Intelligence Scales, Form L-M (1973), Right: Wechsler Intelligence Scale for Children – Revised (1974)

See more here &#38;gt;&#38;gt;


The Material Force of Categories, with Tomas Percival, Birkbeck, London
&#60;img width="1051" height="700" width_o="1051" height_o="700" data-src="https://freight.cargo.site/t/original/i/f775fabd956352d507da0b89e842992e4fa89d1d40f392faab01079cd8b11332/MaterialForce-1.jpg" data-mid="207026914" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/f775fabd956352d507da0b89e842992e4fa89d1d40f392faab01079cd8b11332/MaterialForce-1.jpg" /&#62;This symposium, organised in parallel to the Psychotechne exhibition, examined how assessment and categorisation can play an active role in decision-making structures. The event explored how socio-technical systems produce categorisations—particularly categorisations of intelligence, risk, and the subject—in ways that can then be operationalised within broader institutional and epistemic frameworks. The symposium was interested in how such categories are produced through a range of psychosocial, statistical, and technical modes of assessment, including psychometric and psychological testing, risk assessment tools, and machine learning.

Speakers included Ramon Amaro, Margarita Aragon, Anthony Faramelli, Eoin Fullam, Becka Hudson, Simon Jarrett, and Ageliki Lefkaditou.


2022
On the Subject of Tests: Performing with Objects, Forecast, Berlin
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On the Subject of Tests: Performing with Objects understand intelligence test kits as ‘readymade performances’. Therein, the test kits at once dictate the rules of a performace (via the manual), provide the most necessary and crucial props (the subtests), and are packaged up, ready to be carried from place to place. All that is necessary to perform the test now is a competent performer (the examiner). 

&#38;gt;&#38;gt; See more about&#38;nbsp;On the Subject of Tests: Performing with Objects here

On the Subject of Tests: Opening Boxes

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/cd86fef4caa029f5fa02affaeff84a3525c7c5f3ec7dc9061e6cb1a914019c3b/Thesis.00_02_33_06.Still004.jpg" data-mid="207029432" border="0"  src="https://freight.cargo.site/w/1000/i/cd86fef4caa029f5fa02affaeff84a3525c7c5f3ec7dc9061e6cb1a914019c3b/Thesis.00_02_33_06.Still004.jpg" /&#62;
In the video project, On the Subject of Tests: Opening Boxes, Bergstrom-Katz expands the research on the test-as-archive by collaborating with artists to, together, unbox a collection of historical test kits and discuss them in relation to the history of testing, the tests’ designs and the tests’ affective meanings. 


Artists: 

Lamia Abukhadra, Yin Yin Wong, Alvaro Urgate, Yannick Nuss and Andrea Karch

Cinematography, lighting and sound: Hamid Soleymani&#38;nbsp;
Special Thanks: Hicham Khalidi, Jan Van Eyck Academie


Art &#38;amp; Psychotherapy Workshop co-organised&#38;nbsp;with Dr Suzanne Hudson and Dr Sarah Marks,&#38;nbsp;Birkbeck, University of London&#38;nbsp;

&#60;img width="2896" height="4096" width_o="2896" height_o="4096" data-src="https://freight.cargo.site/t/original/i/365406d9933cad8b46585055999fc316665bde0620d7906cf1a3448e68ac104a/FVXbAxpX0AIFmjn.jpeg" data-mid="207027122" border="0" data-scale="46" src="https://freight.cargo.site/w/1000/i/365406d9933cad8b46585055999fc316665bde0620d7906cf1a3448e68ac104a/FVXbAxpX0AIFmjn.jpeg" /&#62;
This workshop focuses on the relationship between art and art therapy, examining the roles of artist, service-user artist, amateur artist, outsider artist and non-artist. Though the question ‘what is art’ is rote, the utilisation of art as therapeutic endeavour, championed by therapeutic communities and supported by institutions, tugs at the boundaries of meaning of art via its maker and the maker’s ‘location’. Though many so-called outsider artists are not service users or, more specifically, art therapy patients, their positioning as both artists and not-artists gives a pertinent example of the slipperiness of the category of artist – someone on the ‘inside’ of an ‘art world’ and yet in close proximity to ‘insanity’ and outsider-ness. This interdisciplinary workshop brings together scholars from arts-based practice, art history, history of the human sciences, and psychosocial studies to reflect collectively on the following research questions:


2021


All I Needed Was
Imagination (BS-Projects Fellows Exhibition), Hochschule für Bildende Künste Braunschweig,
Germany


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On The Subject of Tests is an ongoing research project that examines, explores and plays with the aesthetic, affective and genealogical dimensions of 20th century intelligence tests as administered in psychiatric, educational, legal, military and border spaces as a means of categorising, separating and diagnosing its subjects.
I included three works (On the Subject of Tests: Test as Archive, 2021, Series of framed digital prints;&#38;nbsp;On the Subject of Tests: Desk as Archive, 2021, MDF desk with collection of tests, photographs, toys, research materials and miscellaneous objects; and On the Subject of Tests: Rehearsing the Examination, 2021
Video of rehearsals (work in progress), 36:00 min) in this group exhibition which featured 10 artistic research fellows from BS-Projects).
&#38;gt;&#38;gt; See more of Desk as Archive here&#38;gt;&#38;gt; See more of Rehearsing the Examination here

					
Rehearsing
the Examination,
Inter Art Center (IAC), University of Lund, Malmö, Sweden


&#60;img width="1188" height="1486" width_o="1188" height_o="1486" data-src="https://freight.cargo.site/t/original/i/3baaac9aca6c9d11c1e68c46ee84ebc39225826861835d27e22cc0523d32a835/IAC-GalleryWeekend.png" data-mid="140617353" border="0"  src="https://freight.cargo.site/w/1000/i/3baaac9aca6c9d11c1e68c46ee84ebc39225826861835d27e22cc0523d32a835/IAC-GalleryWeekend.png" /&#62;In August of 2021, artist and researcher, Sasha Bergstrom-Katz, worked in the IAC’s Black&#38;nbsp;Room, rehearsing with eight actors to study a selection of intelligence test kits from the United States. 

For the Malmö Gallery Weekend (24-26 September), she presented a work in progress iteration of the longer form project: “On the Subject of Tests: Rehearsing the Examination”.Using the IAC’s Black Room as site, artist and researcher Sasha Bergstrom-Katz will record extended rehearsals of intelligence test manuals.
 

Images: Exhibition Poster&#38;gt;&#38;gt; See more of Rehearsing the Examination here


2020


Archive
Machines, Rewiring,&#38;nbsp;Los Angeles Municipal Art Gallery, Los Angeles, CA

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The City of Los Angeles Department of Cultural Affairs (DCA) and the Los Angeles Municipal Art Gallery (LAMAG) presented ARCHIVE MACHINES, an online-only juried exhibition of recent works by Southern California artists that examined the archive as a conceptual vehicle to de-center singular narratives and encourage plural perspectives through the activities of revisioning, resisting, rewiring and relating. The forty-four artists were selected from an open call by a jury comprising: Olivian Cha, Curator and Collections Manager, Corita Art Center, Los Angeles; Kerstin Erdmann, Director, Galería OMR, Mexico City; and Rita Gonzalez, Terri and Michael Smooke Curator and Department Head Contemporary Art, LACMA, Los Angeles. ARCHIVE MACHINES was organized into four thematic sections to further engage with the presented artworks, concepts and structure of “living archives” by taking a cumulative course, growing throughout the course of the show.


ARCHIVE MACHINES‘ first section, REVISIONING, featured artists: Jamie Adams, Caroline Clerc, Natalie Delgadillo, Danny Jauregui, Dina Kelberman, Audrey Leshay, Maura Murnane, Lenard Smith, Allison Stewart and Rachel Zaretsky.


RESISTING featured artists: Johanna Breiding, Woohee Cho, Boz Garden, Malisa Humphrey, Nova Jiang, Farrah Karapetian, Keaton Macon, Silvi Naçi, Amir Saadiq and Keith Walsh.


REWIRING featured artists: Sasha Bergstrom-Katz, Arezoo Bharthania, Tom Comitta, stephanie mei huang, David Kelley, Three Lee, Julie Orser, Lena Pozdnyakova and Eldar Tagi, Tianyi Sun, Kyle Tata and Camile Wong.


The exhibition concluded with RELATING, which featured artists: William Camargo, Helen Chung, Nick Flessa, Carla Jay Harris, Wesley Larios, Helena Min, Tyler Matthew Oyer, Felix Quintana, Leticia Velasquez, Evelyn Hang Yin, Sarita Zaleha and Jody Zellen.
&#38;gt;&#38;gt; See more of Rhetoric of a Box here


2018


Effecting a Split, University Art Gallery, University of California, Irvine, Irvine, CA
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&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/c1b8e522f74e7304a5a107d6e2e9b68ae0e49142394a6d6ece6f078f035596e9/SBK-thesis2-sm.jpg" data-mid="141314051" border="0"  src="https://freight.cargo.site/w/1000/i/c1b8e522f74e7304a5a107d6e2e9b68ae0e49142394a6d6ece6f078f035596e9/SBK-thesis2-sm.jpg" /&#62;

Images: Installation views
Effecting a Split is a two-channel video installation that re-performs the transformation scene from The Strange Case of Dr. Jekyll and Mr. Hyde alongside a magic illusion that requires identical actors to perform a transportation across the stage. The work examines how systematic methods of misdirection and hidden apparati are used in various modes of performance and addresses issues of divided subjectivity and the split body.&#38;gt;&#38;gt; See more of On Magic: Effecting a Split &#38;amp; On Not Seeing here


Arc, Wobble, Fade, Fold&#38;nbsp;(curated by Simone Krug and Eric Kim), Human Resources, Los Angeles, CA

Sasha Bergstrom-Katz,&#38;nbsp;Rachel Borenstein, Niloufar Emamifar, Miranda Javid, Kyle Welker, Kim Garcia , Joshua Ross, Eva Słapa, Amy Mackay &#38;nbsp; &#38;nbsp;
 
&#60;img width="3977" height="2651" width_o="3977" height_o="2651" data-src="https://freight.cargo.site/t/original/i/a9087424af65ecfbf56a1e4582e40a5641e437af280038f020a5570e258cc6a7/IMG_7746.jpg" data-mid="141315092" border="0"  src="https://freight.cargo.site/w/1000/i/a9087424af65ecfbf56a1e4582e40a5641e437af280038f020a5570e258cc6a7/IMG_7746.jpg" /&#62;
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Images: Installation views (On Not Seeing: Cup &#38;amp; Ball, 2018; Cast Aluminum)

Consider the idea of the fold. It is both a gesture and a mark, a mode of concealment and of obfuscation. One can get lost in the fold just as the act of folding might provide direction or even answers. A fold is a fracture in the surface and it is a gentle graze. It is, in this way, a clever contradiction. A fold implies elasticity, movement, and variation. The works in Arc, Wobble, Fade, Fold rely on the tensility of their materials, the malleability of their formation. These pieces come together in their shifting, volatile dispositions. 

Is a fold a boundary? Some works delve into the politics of geographic “air rights” and the arbitrary property rights used to delineate borders and measure public space. Other pieces consider the inherent choreography of the garment as it wrinkles, puckers, and cinches on the body. There are abstract documents of constructed or staged group experiences, where a large-scale painting of curved, undulating strokes might serve to mark, or archive, a collective event. 

The fold—or the fissure—is hidden in the systems of other artworks. In one sculptural installation of tangled glass tubes, both the flow and the source of tube water is concealed by the coiling continuity of its transparent conduit. Another artist explores the interior apparatus of the magician’s false “cup-and-ball” props. Here, the trick is embedded into the object itself, eliminating any need for sleight of hand. 

Some cast structures carry impressions and indentations of tactile molds. These fabricated forms likewise hint at tensions, misunderstandings, missed connections—an elaborate index of social interactions. Another work seeks to demarcate definitive moments in more abstract pursuits such as mapping the pollination range of honey bees. Still other pieces dissect the flat surface of the canvas, carving holes and manipulating material into intricate contours. Short looping animations dwell on mortality and the passage of time, the folding of the day as the sun sets. 

As both a cover and an idea that might open out into something else, the fold is a point of entry into deconstruction, revision, and the broader notion of change. When we see these artworks together, we see the seams that hold our surroundings. 

Curated by Simone Krug and Eric Kim&#38;gt;&#38;gt; See more of On Magic: Effecting a Split &#38;amp; On Not Seeing here

 
On Not Seeing, Material Art Fair with In Lieu, Mexico City, Mexico
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Image: Installation view
&#38;gt;&#38;gt; See more of On Magic: Effecting a Split &#38;amp; On Not Seeing here

Co/Lab III, Torrance Art Museum, Torrance, CA
&#60;img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/a94aed1491a342934b4fe9de9eefd4244ff940591876e1b1f30d2c087dc475b8/IMG_7611.jpg" data-mid="141315451" border="0"  src="https://freight.cargo.site/w/1000/i/a94aed1491a342934b4fe9de9eefd4244ff940591876e1b1f30d2c087dc475b8/IMG_7611.jpg" /&#62;
Image: Installation View


20177 Stages, AWHRHWAR, Highland Park, CA
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Mid-residency Exhibition, University Art Museum, University of California, Irvine, Irvine, CA


&#60;img width="2872" height="1615" width_o="2872" height_o="1615" data-src="https://freight.cargo.site/t/original/i/6747256aa8d46fc8a8df76f96011dc573265b43804b776b07cd626c863d16208/Screen-Shot-2017-12-05-at-12.34.47-PM.png" data-mid="141827899" border="0"  src="https://freight.cargo.site/w/1000/i/6747256aa8d46fc8a8df76f96011dc573265b43804b776b07cd626c863d16208/Screen-Shot-2017-12-05-at-12.34.47-PM.png" /&#62;
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+ and – (curated by Micah Espudo), Echo Park, CA
&#60;img width="2400" height="1350" width_o="2400" height_o="1350" data-src="https://freight.cargo.site/t/original/i/16c5b7502b1f8627fcb996febc46948abd59c9e07d660812c16cb0da23e4493f/06_HangingChain.JPG" data-mid="141828223" border="0"  src="https://freight.cargo.site/w/1000/i/16c5b7502b1f8627fcb996febc46948abd59c9e07d660812c16cb0da23e4493f/06_HangingChain.JPG" /&#62;


2016 hi temps (two-person exhibition with Stephen Quick), Central Park Gallery, Los Angeles, CA
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&#60;img width="853" height="1280" width_o="853" height_o="1280" data-src="https://freight.cargo.site/t/original/i/09b986804249139fdb19d2491e1bd293afb1bc95595af7a4de17bd1dda0ebff8/12_fireescape1-853x1280.jpg" data-mid="141828241" border="0"  src="https://freight.cargo.site/w/853/i/09b986804249139fdb19d2491e1bd293afb1bc95595af7a4de17bd1dda0ebff8/12_fireescape1-853x1280.jpg" /&#62;
&#38;gt;&#38;gt; See more of hi temps here


I Live Alone, Patrick Gomez 4 Sheriff at ARTBandini, Los Angeles, CA
&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/cd2f87a0bd72d63f38442fcf31ea7e282f204bca9ff513946bab3de33338004a/07_TwoOnes.JPG" data-mid="141828253" border="0"  src="https://freight.cargo.site/w/1000/i/cd2f87a0bd72d63f38442fcf31ea7e282f204bca9ff513946bab3de33338004a/07_TwoOnes.JPG" /&#62;


All of You’re Sudden, In Lieu, Los Angeles, CA
&#60;img width="1500" height="2100" width_o="1500" height_o="2100" data-src="https://freight.cargo.site/t/original/i/3c7e9f76da38bab7d6a9e41f99754c4ff075d3e9957b47a7364b9a35ef5f82fb/05_SBK-CeilingChain.jpg" data-mid="141828266" border="0"  src="https://freight.cargo.site/w/1000/i/3c7e9f76da38bab7d6a9e41f99754c4ff075d3e9957b47a7364b9a35ef5f82fb/05_SBK-CeilingChain.jpg" /&#62;


Brancusi 2.0, Arturo Bandini, Los Angeles, CA
&#60;img width="1125" height="844" width_o="1125" height_o="844" data-src="https://freight.cargo.site/t/original/i/4708cd27005ccb98ac31ece43404463efde351c775fa4c99334fd8e53b7ae01c/IMG_9854.jpg" data-mid="207028702" border="0"  src="https://freight.cargo.site/w/1000/i/4708cd27005ccb98ac31ece43404463efde351c775fa4c99334fd8e53b7ae01c/IMG_9854.jpg" /&#62;

2017, Art Center College of Art &#38;amp; Design, Pasadena, CA (catalog)
&#60;img width="784" height="295" width_o="784" height_o="295" data-src="https://freight.cargo.site/t/original/i/30a275fdc998aee1f2731bf310f95874df4078c40256ea2775be4540120af1f8/image-asset.jpeg" data-mid="207028593" border="0" data-scale="100" src="https://freight.cargo.site/w/784/i/30a275fdc998aee1f2731bf310f95874df4078c40256ea2775be4540120af1f8/image-asset.jpeg" /&#62;


2014&#38;amp;, Roberts &#38;amp; Tilton, Los Angeles, CA (with Sam Kahn)

&#60;img width="2212" height="1500" width_o="2212" height_o="1500" data-src="https://freight.cargo.site/t/original/i/978ab7fbc2fc4a0400c51f06a36dc3f3d27689a292cb3deec51284bf1be54650/08_Conversations.jpg" data-mid="141828309" border="0"  src="https://freight.cargo.site/w/1000/i/978ab7fbc2fc4a0400c51f06a36dc3f3d27689a292cb3deec51284bf1be54650/08_Conversations.jpg" /&#62;
&#60;img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/78bb53788d28caf596b6b33ea8ebb0b73b213186acceb208dd16b1d1a752c0fd/08_Conversations-2.jpg" data-mid="141828308" border="0"  src="https://freight.cargo.site/w/1000/i/78bb53788d28caf596b6b33ea8ebb0b73b213186acceb208dd16b1d1a752c0fd/08_Conversations-2.jpg" /&#62;


&#38;gt;&#38;gt; See more of &#38;amp; at Roberts &#38;amp; Tilton (now Roberts Projects) here</description>
		
	</item>
		
		
	<item>
		<title>CV</title>
				
		<link>https://sashabk.com/CV</link>

		<pubDate>Mon, 25 Apr 2022 12:38:44 +0000</pubDate>

		<dc:creator>Sasha Bergstrom-Katz</dc:creator>

		<guid isPermaLink="true">https://sashabk.com/CV</guid>

		<description>

C. V.
Sasha Bergstrom-Katz is an artist, researcher and writer working at intersections of the history of science, pyschosocial studies, STS and critical medical humanities.


Education and Academic Posts


Center for Advanced Studies “Applied Humanities: genealogy and politics,” Humboldt-Universität zu Berlin
2026&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Fellowship

Max Planck Institute for the History of Science Berlin, Germany

University of Bielefeld Bielefeld, Germany

2024-2026&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Leverhulme Trust post-doctoral fellowship and artic research in Validation and Regulation in the Biomedical Sciences&#38;nbsp;with Dr Lara Keuck

Birkbeck, University of
London, London,
United Kingdom2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; PhD in Psychosocial Studies Thesis: On Intelligence Tests: Pyschological Objects and Their Subjects. 

Joint supervisors: Dr Amber Jacobs (Psychosocial Studies) and Dr Sarah Marks Marks (History of Science and Medicine). Examiners: Dr Suzannah Biernoff (Birkbeck) and Dr D. Graham Burnett (Princeton)&#38;nbsp;


University of Groningen, Netherlands

Erasmus+ Visiting PhD Researcher 2021-22

Supervising Academic: Dr Annette Mülberger


University of California,
Irvine,
Irvine, CA
2015-18 &#38;nbsp; &#38;nbsp; MFA Art&#38;nbsp;
2015-18 &#38;nbsp;&#38;nbsp;&#38;nbsp; Graduate Certificate, Critical Theory Emphasis,
School of Humanities


California Institute of
the Arts (CalArts), Valencia, CA
2006-08 &#38;nbsp;&#38;nbsp;&#38;nbsp; BFA Art


Solo and Two Person
Exhibitions


2025 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
(re)searching in clay, Ceramic Kingdom, Berlin, Germany

2023&#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;  Psychotechne (with Tomas Percival) curated by Dr. Sarah Marks, Peltz Gallery, Birkbeck, University of London
2020 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; To be titled, SNEHTA, Athens, Greece (cancelled
due to Covid-19)


2018 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Effecting a Split, University
Art Gallery, University of California, Irvine, Irvine, CA


2017 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 7 Stages, AWHRHWAR, Highland
Park, CA


2016 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; hi temps, (two-person
exhibition with Stephen Quick), Central Park Gallery, Los Angeles, CA


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
I Live Alone, Patrick Gomez 4 Sheriff
at ARTBandini, Los Angeles, CA


2015 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Sasha Bergstrom-Katz and Sam Kahn, The
Smell, Los Angeles, CA
 
2014 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Inaugural Dinner (collaboration
with Emily Marchand), The Pit, Glendale, CA


Sasha Bergstrom-Katz and
Sam Kahn &#124; Conversations, Machine Project, Los Angeles, CA


2012 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; It's very stimulating, and – and
it's red (screening), Machine Project, Los Angeles, CA


2008 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; BFA Thesis Exhibition, D301
Gallery, CalArts, Valencia, CA


2007 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Mid-residency Exhibition, Mint
Gallery, CalArts, Valencia, CA


Group Exhibitions,&#38;nbsp; Screenings and Performances


2025 &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; The Ambiguity of Sorting, RWTH Aachen University, Aachen, Germany


Drift. Sink. Emerge. Repeat. Multimodal Submersion as Diffractive Practice&#38;nbsp;(with Antonia von Schöning), Diffracting the Critical (STS-Hub 2025), Berlin, Germany
2022 &#38;nbsp; &#38;nbsp; &#38;nbsp; On the Subject of Tests: A Demonstration (performance), Forecast Forum, Berlin, Germany 

2021 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; All I Needed Was Imagination (BS-Projects
Fellows Exhibition), Hochschule für Bildende Künste Braunschweig, GermanyRehearsing the Examination (as a part of Gallery Weekend) Inter Art Center (IAC), University of Lund, Malmö, Sweden


2020 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Archive
Machines, Rewiring, Los Angeles Municipal Art Gallery, Los
Angeles, CA (with artist panel)
&#38;nbsp;


2018 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Arc, Wobble, Fade, Fold(curated by Simone Krug), Human Resources, Los Angeles, CA


Co/Lab III, Torrance Art Museum,
Torrance, CA


On Not Seeing, Material Art Fair with
In Lieu, Mexico City, Mexico


A Sequel To, Film Noir Cinema, New
York and the Independent Cinema, Los Angeles


2017 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Mid-residency Exhibition, University
Art Museum, University of California, Irvine, Irvine, CA


+ and – (curated by Micah
Espudo), Echo Park, CA


2016 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; All of You’re Sudden, In Lieu,
Los Angeles, CA


Brancusi 2.0, Arturo Bandini, Los
Angeles, CA


2017, Art Center College of
Art &#38;amp; Design, Pasadena, CA (catalog)


2014 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; &#38;amp;, Roberts &#38;amp; Tilton,
Los Angeles, CA
Publications


Forthcoming&#38;nbsp; &#38;nbsp; Art &#38;amp; Psychotherapy. (Co-editor with Suzanne
Hudson and Sarah Marks). Oxford University Press.
Unboxing Intelligence: Psychological Objects and Their Subjects. (Monograph) Oxford University Press.2026 &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; “Improvisation of Good Rapport.” Configurations. (Accepted)&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
 “Jennifer Crane, Gifted Children in Britain and the World.” Social History of Medicine, May 8, 2026, hkag038. https://doi.org/10.1093/shm/hkag038.

2025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The Material Force of Categories. (Co-editor with Tomas Percival) Special Issue, History of the Human Sciences.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;  &#38;nbsp; “On
Creative Destruction: Getting to understand an object through play” chapter in Creative
Disruption Studies
in the Psychosocial (Palgrave MacMillan)
 “Promoting
and Professionalizing Art Therapy: Three Exhibitions Featuring Art Made by
Individuals in Psychiatric Care, 1955-68” (Accepted, peer review pending)2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (with Tomas Percival)
“Psychotechne: Assessment, Testing and Categorisation” The Polyphony (online) (https://thepolyphony.org/2023/03/13/psychotechne-assessment-testing-and-categorisation/)


2019 &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Rudzienko, Sharon Lockhart. (Editor, Exhibition Catalogue) Centre for
Contemporary Art, Vilnius, Lithuania.
Selected Talks
and Conferences


2025 &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; Rehearsing and Performing Tests from the History of
the Human Sciences (with Dr. Michele Luchetti,) Experimental Histories of
Science, University of College London (UCL)


Joint talk with Dr. Michele
Luchetti, The Healing Arts, Encounters in Art and Medicine, Berlin University
of the Arts


Unpacking Intelligence: Testing as a Readymade
Performance, Research Colloquium on the History of Knowledge, Institut für
Geschichtswissenschaften, Humboldt-Universität zu Berlin


On
the Subject of Tests: Performing with Objects, Institute for Medical &#38;amp;
Health Humanities and Artistic Research (IMHAR), (online)


Readymade Performance: Concretizing Improvisation
into Standardized Procedures, Workshop: Scientific Instruments in the History of Psychology, Tilburg University, Netherlands
2024 &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Art as Mental Imaging, as part of the Drawing Research Forum (Part II), The
Drawing Room, London
2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The Material Force of Categories, Birkbeck, University of London (Wellcome Funded) (co-organizer with Tomas Percival)
The test manual as script: Standardized relations between examiners and subjects in two 20th century U.S. intelligence scales, 2023 European Association for the History of Medicine and Health meeting, Oslo, Norway


Readymade Performances of
Scientific Acts, The Society for Social Studies of Science (4S), Online 


2022 &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Art
&#38;amp; Psychotherapy Workshop, Birkbeck, University of London (co-organizer
with Dr. Suzanne Hudson and Dr. Sarah Marks)


Rehearsing
the Examination. Workshop on Living with Measurements, Berlin-Brandenburg
Academy of Sciences and Humanities


Test
as Archive. ‘Histories
of Educational Technologies: Cultural and Social Dimensions of Pedagogical
Objects’, International Standing Conference for the History of Education
(ISCHE). Milan, Italy


The
Manual as Script. Workshop
on Validation and Regulation in the Medical Sciences, Max Planck Institute for
the History of Science.


2021 &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Practice-based
Research in Psychosocial Studies (Panel). Department of Psychosocial Studies PhD Online Conference


With W.J. Brown. The
‘Continuous Prototype’ and ‘New Form’ Literature: Off the page processes for
interactive and emergent modes of writing. The
National Association of Writers in Education (NAWE) Virtual Conference 


With
W.J. Brown. Future and Form: Tracking Audience Participation and Interaction
with New Form Literature. Futures for Creative Writing Online Conference,
University of East Anglia, United Kingdom (online) 


2020 &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Artist Talk for exhibition Archive
Machines, Los Angeles Municipal Art Gallery, Los Angeles, CA


Fragments and
Fractals,
Department of Psychosocial Studies PhD Cyber Conference 


2019 &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Practice-led
Methodologies, Corkscrew Practice-led Research Working Group, Birkbeck,
University of London

Residencies
&#38;nbsp;2022 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; Understanding intelligence: Across human and other-than-human worlds, Praksis, Oslo&#38;nbsp;Forecast 7 Platform Nominee. Berlin,
Germany2021 &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; BS Projects Fellowship, Hochschule
für Bildende Künste Braunschweig, Germany


Inter Art Center (IAC),
University of Lund, Malmö, Sweden&#38;nbsp;2020 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; SNEHTA, Athens, Greece (cancelled due
to Covid-19)
 

Grants and Awards


2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Leverhulme Research Fellowship (two years)
Birkbeck Wellcome Trust Institutional Strategic Support Fund, Conference and Symposia Funding
 
2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Conference Attendance Support Fund, Birkbeck, University of LondonBirkbeck Wellcome Trust Institutional Strategic Support Fund, Public Engagement Funding


2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; 
Tom Schuller&#38;nbsp;Intergenerational
Research Support Fund, Birkbeck, University of London


2015-18 &#38;nbsp; &#38;nbsp; University Fellowship ( tuition and
living stipend), University of California, Irvine


2018 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Associated Graduate Student Travel
Grant Award, University of California, Irvine


2018 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; 21C Seed Project, University of California,
Irvine


2016-18 &#38;nbsp;&#38;nbsp;&#38;nbsp; Graduate Student Research and Travel
Grants, University of California, Irvine


2016 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Research and Materials Stipend,
University of California, Irvine


Academic Memberships and Posts


2021-23&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Post Graduate Research Representative,
Birkbeck Centre for Interdisciplinary Research on Mental Health


2020-23 &#38;nbsp;&#38;nbsp;&#38;nbsp; Post Graduate Research Representative,
Birkbeck Institute of the Moving Image (BIMI) Steering Committee


2020 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Co-Organiser, Fractals and
Fragments, Psychosocial PhD cyber conference, Birkbeck, University of
London


2019-20&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Member, Corkscrew network for practice-based
researchers, Birkbeck, University of London


2016 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Graduate Liaison, Claire Trevor School
of the Arts, University of California Irvine


2015 &#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp;&#38;nbsp; Co-Organisier, Visiting Artist Lecture
Series, Claire Trevor School of the Arts, University of California Irvine


Teaching Experience


Bard College Berlin, Germany (Guest faculty: Performing Science and Medicine with Michele Luchetti)&#38;nbsp;

Birkbeck, University of London,
United Kingdom (Psychosocial BA and MA, Theory &#38;amp; Methods modules)


California Institute of
the Arts (CalArts), Valencia, CA (Workshop on artist curated
exhibitions)


University of California,
Irvine, Irvine, CA (BA Studio Art and Theory courses)


</description>
		
	</item>
		
		
	<item>
		<title>Contact</title>
				
		<link>https://sashabk.com/Contact</link>

		<pubDate>Mon, 25 Apr 2022 12:38:44 +0000</pubDate>

		<dc:creator>Sasha Bergstrom-Katz</dc:creator>

		<guid isPermaLink="true">https://sashabk.com/Contact</guid>

		<description>

Contact:
sashabkatz@gmail.com

</description>
		
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