2013-2012-2011-2010
THANK YOU. Arteles would like to thank all the residents, collaborators funders and supporters for their work, participation and activity. This catalogue would be much emptier without you.
Best Regards,
Arteles Team
ARTELES CREATIVE CENTER Hahmaj채rventie 26 38490 Haukij채rvi Finland +358 341 023 787 info@arteles.org www.arteles.org
Design: Teemu R채s채nen. All rights reserved. Arteles 2015
ABOUT // // Presenting 2010-2013 residency artists and their projects. All the past residency program participants have been asked to send information about their projects done in Arteles Creative Center. Those who have given the information so far are presented in this catalogue. Arteles catalogue was published first time in the beginning of 2012 and it is updated frequently. You can find the latest version of the Arteles Catalogue from http://www.arteles.org/artists_projects.html
All rights reserved. Arteles 2015
FUNDERS // //
ARTELES CREATIVE CENTER & RESIDENCY PROGRAM
_ ARTS PROMOTION CENTER FINLAND
_ SKR - FINNISH CULTURE FOUNDATION / PIRKANMAA REGIONAL FUND
_ HÄMEENKYRÖ / HÄMEENKYRÖN YRITYSPALVELUT OY
_ EUROPEAN UNION / JOUTSENTEN REITTI RY
OTHER
_ ARTS COUNCIL OF PIRKANMAA [7] [10]
_ FRAME [11]
COLLABORATIONS [in alphabetical order] // //
_ ART 360 PROGRAM [9]
_ PIIPOO RY [12]
_ ARTS COUNCIL OF CENTRAL FINLAND [3]
_ PORI ART MUSEUM [7]
_ BACKLIGHT PHOTO FESTIVAL [4]
_ PERFO! (CULTURAL CENTER TELAKKA TAMPERE) [6]
_ CENTER OF CREATIVE PHOTOGRAPHY [3]
_ PISPALA CENTER FOR CONTEMPORARY ARTS [5] [6]
_ ESKARO [8]
_ PTARMIGAN HELSINKI & TALLINN [6]
_ CREATIVE SCOTLAND [2]
_ RAJATAIDE ASSOCIATION [5]
_ GALLERY 3H+K, PORI [6]
_ RED CROSS / REGIONAL DIVISION [13]
_ GALLERY ALKOVI, HELSINKI [6]
_ RECYCLING CENTER, HÄMEENKYRÖ [8]
_ GALLERY RAJATILA [7]
_ TAMPERE UNIVERSITY OF APPLIED SCIENCES [3]
_ HAUKIJÄRVELÄISET ASSOCIATION
_ TAMPERE ARTIST ASSOCIATION [5] [9]
_ HÄMEENKYRÖ BOROUGH [8]
_ TAMPERE CITY / CULTURAL OFFICE [5] [12]
_ INSTITUTO ITALIANO DI CULTURA FINLANDIA [2]
_ TAMPERE TRADE FAIR [9]
_ JYVÄSKYLÄ ART MUSEUM [3]
_ TUNTURI HELLBERG LTD
_ JYVÄSKYLÄ UNIVERSITY OF APPLIED SCIENCES [3]
_ TEHDAS RY [7]
_ KIASMA [1]
_ TIKKURILA [8]
_ LIVE HERRING GROUP [3]
_ TR1 KUNSTHALLE [7]
_ NÄKYMÄ PUBLIC ART SHOW 2011 [6]
_ UNIVERSITY OF JYVÄSKYLÄ [3]
_ MAKE 8ELIEVE
_ XL ART SPACE HELSINKI [6]
_ ORE.E REFINERIES [7]
EXPLANATIONS // //
[1] Arteles Citywalks - URB - Urban Art Festival 2011
[12] Artisokka -project
[2] Arteles Studios
[13] Art projects
[3] Artist Talks [4] Backlight Sympsium [5] CARE - Contemporary Art Residency and Exchange Program [6] Direct use of Arteles network artists [7] Satellite Platform - Lecture series [8] Residency program’s material support [9] Tampere Art Fair [10] Art Dubai fair [11] Istanbul Biennale
RESIDENTS Arteles Creative Residency Program, January - November 2013
Argentina
MARÍA EMILIA SILVETTI // Painting & poetry
Mexico
IVÁN KRASSOIEVITCH // Visual art
Netherlands
MAARTEN BOEKWEIT // Visual art
NIZHA BUSTOS SALIM // Music Australia
SIMON GARDAM // Media art PILAR MATA DUPONT // Visual art JODY QUACKENBUSH // Visual art
New Zealand
JOANNE DRAYTON // Visual art SUZANNE VINCENT MARCHALL // Visual art
ANNIE NGUYEN // Visual art ADAM GIBSON // Visual art & music HENRY ANDERSEN // Sound & music JACQUI MILLS // Visual art Belgium
BEATA SZPARAGOWSKA // Visual art
Norway
Poland Spain
KRISTIN NANGO // Dance & performance SENA WOLF // Visual art GLÒRIA ESCALA VIDAL // Performance & installation JOSE BAHAMONDE // Video, 3D, motion graphics
Brazil
MYRIAM GUILLAMÓN // Video, 3D, motion graphics
BEATRIZ MOGADOURO CALIL // Visual art VICTOR LEGUY // Visual art CARLA CHAIM // Visual art
Sweden
JIMMY ALM // Visual art MAURITZ TISTELÖ // Poetry & visual art
Canada
JORMA KUJALA // Visual art NATASHA ALPHONSE // Visual art DEVON MICHIGAN // Performance, occult, music DANA BUZZEE // Installation & photography PAOLO GRIFFIN // Music composition DANIELLE BLEACKLEY // Sound, Ink,Textile VANESSA VAUGHAN // Visual art CHRISTIANA MYERS // Visual art
Switzerland
Turkey UK
Denmark
Finland
France
Germany
Hong Kong Iran Ireland
Italy
OLLI HORTANA // Film VIRPI VELIN // Photography KIA KUJALA // Mixed RAILA KNUUTTILA // Visual art EMILIE MCDERMOTT // Video, installation, performance VERA HOFMANN // Visual art SABINE SCHRÜNDER // Visual art JACQUELINE HEN // Visual art VIOLET SHUM // Visual art SHOHREH GOLAZAD // Multimedia IAN NOLAN // Painting, installation, intervention PIERCE HEALY // Visual incongruities, storytelling, sound MIRKO KANESI ARABELLA PIO BENEDETTA ALFIERI ALBERTO VENTURINI EMANUELE LOMBARDINI
// // // // //
Visual art Visual art Visual art Visual art Visual art
ELIZABETH ARMOUR // Jewellery, craft, digital design SOPHIE LEE // Photography, installation, artist books MARTHA JURKSAITIS // Visual art KADIE SALMON // Visual art JAMES GOW // Visual art
JEAN PAUL GOMEZ // Photography, video, installation LARRY MUÑOZ // Visual art IDA-ELISABETH LARSEN // Dance & performance MARIE-LOUISE STENTEBJERG // Dance & performance
SEZA BALI // Photography
EDWARD SANDERS // Painting
SYDNEY SOUTHAM // Visual art JULIE PASILA // Visual art Colombia
LILIAN BEIDLER // Visual art CAROLINE VON GUNTEN // Drawing, Installation
AMELIA CROUCH // Visual art USA
CHAD MOUNT // Painting, video NICOLE GRECO-LUCCHINA // Visual Arts, typography AMBERA WELLMANN // Painting STEPH ZIMMERMAN // Sculpture, photography, graphic AMY JONHSON // installation, photography, performance LYNDON BARROIS, JR // Painting & drawing ADDOLEY DZEGEDE // Visual art MATTHEW SCOTT GUALCO // Writing, texting, drawing RYAN SOMERVILLE // Music CATHERINE J. HOWARD // Visual art SUSAN E. EVANS // Hybrid media & photography BRENNA NOONAN // Music AMBER DOE // Visual art MAEGAN STRACY // Visual art DUSTY RABJOHN // Visual art KRISTY HEILENDAY // Visual art AGNES FIELD // Visual art ALISON CHEN // Visual art SHELBY SEU // Visual art JESSICA MILAZZO // Visual art SHARON LACEY // Visual art SALMA BRATT // Literature COALFATHER INDUSTRIES // Visual art HEATHER SINCAVAGE // Visual art
RESIDENTS SILENCE . AWARENESS . EXISTENCE - Theme residency program, December 2013
Ellis Hutch // Installation, sound, drawing
Australia
Sasha Margolis // Sound art, installation, music
Australia
Sam Fagan // Visual art
Australia
Alexis Williams // Sound, installation, biology David Boyce // Conceptual art, photography
Canada Hong Kong / New Zealand
Teresa Mir贸 // Visual art Simon Gerrard // Photography, installation, light
Spain UK
Shawn茅 Holloway // New media, sound
USA
Jessica Anderson // Sculpture, photography, installation
USA
Matthew Clark // Visual art
USA
Birgit Larson // Performance, drawing
USA
RESIDENTS 2012
Australia
MICHELLE DICINOSKI // Media art
Russia
TATJANA GORBACHEWSKAJA // Visual art
RYAN McGENNISKEN // Visual art HOLLIE KELLEY // Visual art
Slovenia
GRACE KINGSTON // Visual art
NATASA KOSMERL // Photography GREGA LOŽ // Illustration
LAURA BATCH // Visual art TOM HOGAN // Sound & Music
Bulgaria
South Africa
LAUREN VON GOGH // Visual art
ADAM GIBSON // Sound & Music
ROBYN COOK // Visual art
JACQUI MILLS // Visual art
JENNA BURCHELL // Visual art
IVAYLO GUEORGIEV // Visualart
South Korea
SAEBON KIM // Visual art JI HYE YEOM // Visual art
Brazil
RENATA PADOVAN // Visual art LARISSA PINHO ALVES RIBEIRO // Visual art
Spain
ANA GALAN // Visual art
STEFFANIA PAOLA ALBANEZ // Visual art Canada
JENNIFER PICKERING // Visual art
ALBERTO MARTÍNEZ CENTENERA // Visual art
Switzerland
NATALIA COMANDARI // Visual art
VANESSA BRAZEAU // Visual art
ROMAIN LEGROS // Visual art
ELLA COLLIER // Visual art
SIBYLLE IRMA // Visual art
JULIE PASILA // Visual art UK Chile
LAURA CARLOTTA WRIGHT // Lense based arts DAN COOPER // Sound & Music
CARLOS LABBÉ JORQUERA // Literature
PATRICK LOAN // Visual art
MONICA RÍOS VASQUEZ // Literature
ANNABELLE CRAVEN-JONES // Visual art Finland
EMMA REEVES // Visual art
ANU TURUNEN // Visual art
CAMILLA EMSON // Visual arT France
EMILIE COLLINS // Visual art USA
Hungary
TAMAS SZVET // Visual art
MARY-ELLEN CAMPBELL // Visual art GRACE NEEDLMAN // Visual art CHRISTOPHER D WILLE // Media art
Israel
OFRI LAPID // Visual art
MARK WUNDERLICH // Poetry DOROTHY K. MCCALL // Art history
Italy
SARAH EDITH LOMBROSO // Illustration
MARLENA MORRIS // Photography
ROBERTO PUGLIESE // Sound & Media art
PAUL ZMOLEK // Dance & Performance JOSEPHINE A. GARIBALDI // Dance & Performance
Japan
MIKA MIZUNO // Photography
SUSAN EVANS // Visual art
AQUICO ONISHI // Visual art
JAMIE URETSKY // Visual art
TOSHIHIKO SUZUKI // Architecture
DELILAH JONES // Visual art
YUKI SUGIHARA // Design
JOHANNA BREIDING // Visual art MARY RASMUSSEN // Visual art
Malaysia
VALERIE NG // Painting
MELANIE EDWARDS // Music STEPHANIE CHAMBERS // Visual Art
Mexico
DANIEL ORLANDO LARA // Photography
JESSELISA MORETTI // Visual art CARRIE NAUGHTON // Literature
SIMEN JOACHIM HELSVIG // Visual art
RESIDENTS 2011 Argentina
CAROLINA TRIGO // Media-art, Performance
Australia
THE MOTEL SISTERS // Action
Italy
HELENA HLADILOVA // Fine art PAOLA RICCI // Sculpture
PILAR MATA DUPONT // Video, performance
Japan
HANAE UTAMURA // Transart
JENNA CORCORAN // Installation KATHERINE SHRINER // Painting
South Korea
HWAYOUN LEE // Drawing HYOJUNG JUNG // Film, video
JESSICA MONTFORT // Painting
HYEKYONG YUN // Photography Belgium
JAN VERBRUGGEN // Sculpture, Painting KAREL VERBUGGEN // Engineering
Spain
Canada
ANDREANNE FOURNIER // Media art
VICTOR GONZALEZ CASTRILLO // Writer MARIA SANCHEZ // Curator
PIETER GYSELINCK // Sound Switzerland
CETUSSS // Design, art, sound
AARON WELDON // Painting JEANNE MARSHALL // Textile
Taiwan
JULIET FANG // Fine arts
Turkey
DIDEM OZUBEK // Design
RICHARD IBGHY // Conceptual art MARILOU LEMMENS // Conceptual art CHRISTIAN CHAPMAN // Painting ANNE MARIE DUMOUCHEL // Performance
UK
LUCY DRISCOLL // Illustration LUCY BAKER // Fine art
Croatia
ANA GEZI // Painting
EDWARD LAWRENSON // Painting
JOLENE MOK // Transdisciplinary
HILJA ROIVAINEN // Painting
SAMANTHA EPPS // Fine art China
LAURA DONKERS // Conceptual art Finland
ULRICH HAAS-PURSIAINEN // Curator OLLI HORTTANA // Photography
USA
MATT SHERIDAN // Media arts SUSAN BERKOWITZ // Photography
France
HÉLÈNE BARIL // House painter
LUCAS COOK // Photography
JEANNE DE PETRICONI // Sculpture
SHARI PIERCE // Fine art
SORAYA RHOFIR // Video art
KARIN HODGIN JONES // Installation
BERENICE SCHRAMM // International Law
MONTANA TORREY // Videoart
MARIE MONS // Design
DAN SPANGLER // Media Design KATIE ZAZENSKI // Installation
Germany
SABINE SCHRÜNDER // Photography
TREVOR AMERY // Installation
VERA HOFMANN // Photography
GAYLORD BREWER // Poetry
NINA FARSEN // Design
ARIEL MITCHELL // Textile Art GEORGIA ELROD // Painting
Greece
GEORGIA KOTRETSOS // Conceptual art
TRAVIS JANSSEN // Media-art
ALEXIS AVLAMIS // Painting, Drawing
COLIN WOODFORD // Sound art
DINOS NIKOLAOU // Media Art
BRENDAN CARN // Music KELLY MONICO // Video
Honduras
ALMA LEIVA // Transdisciplinary
MIKE KOFTINOW // Painting EILIYAS // Sound art GWYNETH ANDERSON // Animation MARISSA GEORGIOU // Conceptual art
IN THE RESIDENCY 2010 June >
Australia
Brazil
Canada
MICHAEL PULSFORD // Sound art
France
CAROL MÛLLER // Photography
HANNA TAI // Installation Art
MAXIME BONDU // Installation
SALLY DAVISON // Actor
NICOLAS CILINS // Installation
LEANDRO LEITE // Choreographer EMMA HOOPER // Research and music
Israel
Slovakia
MAYA ARUSCH // Fine Arts EMESE HRUSKA // Research, music
ELIA ELIEV // Visual arts, research JOHN LUI // Photography, design
The Netherlands
BREGTJE WOLTERS // Drawing
RICHARD IBGHY // Conceptual art MARILOU LEMMENS // Conceptual art
USA
TAKESHI MORO // Photography, media art CHARLIE WILLIAMS // Composer
Estonia
ANNA JAANISOO // Theater director
Finland
EERO YLI-VAKKURI // Multidisciplinary art
ALICIA VIANI // Research, Music DEREK LARSON // Artist, Curator
INKA JURVANEN // Drawing EEVA TALVIKALLIO // Research IIDA-MAARIA LINDSTEDT // Actor PAULA LEHTONEN // Media-art
Vatican City
STEPHANO SUH // Graphic design
RESIDENTS + PROJECTS
IN THE RESIDENCY SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
“Quantifying invisible measurements with careful imprecision�
JESSICA BROOKE ANDERSON
USA
brooke.ja@gmail.com // www.jessicabrookeanderson.com Taking the position as neither a skeptic nor a promoter, my research
context of a gallery, information begins to transcend ratiocination
examines the role of holistic healing practices in contemporary
and calls upon a physical conversation between mind, body,
culture. I am interested in the boundary between the mind and body
and personal experience. In my work, invitations for experience
as well as personal relationships to health, science, medicine, and
occur through demonstrative videos, interactive objects/devices,
biologic phenomena. Reminiscent of laboratory investigations, my
evocative statements of research, and performative exercises.
invented scenarios answer questions with questions and provoke
Together, each of these installation elements create a multi-
participatory explorations of the individual self.
dimensional environment of investigative viewing, biologic
Reframing existing treatments heightens their tension of purpose
questioning, experiential answering, and opportunities for viewers
and provides viewers with neutral environments of investigation.
to test their own boundaries of belief.
By repositioning scientifically grounded phenomena into the
WHICH WAY WOULD YOU LIKE TO GO? Scientific research has determined that meditative actions
continuous movement of individual mediators, the project became
change the interior landscape of the body. Examples of such
an improvised human seismograph. The wavering marks on the
changes include the physical structure of the brain, increased
paper functioned as quantifiable measurements of the performed
speed of neurons, growth in circulatory enzymes, and the altering
experience while the compression of the collected data bypassed
of genetic code. Separate research has determined that the body’s
all means of traditional analysis. Every ebb and flow of meditation
somatosensory and interoception networks are triggered when
was recorded, but every moment is indistinguishable from the
an individual performs a familiar task with their eyes closed,
rest.
resulting in heightened brain activity and personal awareness.
As a record of the brain’s systematic transformation and the
But what happens to the body when the two are combined?
layering of time spent in transition, “Meditation Walking” merged
“Meditation
Walking,”
the
project
conducted
during
my
the internal experience with the physical process. The generated
month at the Arteles Residency, challenges these notions of
evidence served as an indecipherable record of an internal,
measurement and explores the biologic impact of engaging in a
cognitive shift and confronted ideas of arbitrary measurement,
walking meditation without sight. By using a marker to trace the
personal opinion, and self projection.
IN THE RESIDENCY SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
“Playing in the gloaming of your self-awareness”
ALEXIS WILLIAMS
Canada
digitalucid@gmail.com // www.alexiswilliams.net The average healthy mind ignores information that is not obviously
ignorance of nature. The work produced will celebrate the liminal
relevant. (This unawareness is literally ignorance) My work often
moment of freedom from identity that happens when you realize
attempts to draw attention to things that were always visible but
that you are not exactly what you thought you were. It will strive to
were overlooked or ignored. I aim to alter my viewer’s awareness
achieve with science and reason a state between self-awareness
to reveal things we cannot see until we learn how to see them
and egolessness that is usually only achieved in spiritual ritual. As
while suggesting that other things in life might be unperceived
an artist Interested in cognitive dissonance, paradigm shifts and
or unintentionally disregarded. My time at Arteles is spent
moments of realization, I am drawn to the lecture and ceremony
researching the inaccuracies of our perception and how technology
as methods to perform this work. The piece will be both a guided
and culture affect our understanding of our world and of ourselves.
meditation and a biology lesson presented as an audio installation
My current project will attempt to inspire change in perception of
and a live performative talk at conferences.
the self by pointing out the inaccuracies of our senses and of our
WHICH WAY WOULD YOU LIKE TO GO? While I write my thesis which will be a guided meditation
While experimenting with meditation in Finland it was snowing
on inaccuracies of our perception of nature and of the self
so I made a 40 meter wide meditation labyrinth in the snow in
I participated in several international artist residencies. My
the dark. I used a traditional design that is used to unwind and
stay at Arteles was spent researching pop neurology and
to help guide you to your center. Walking a meditation labyrinth
meditation. Specifically I studied how our attention works and
is supposed to bring clarity over obstacles and help to find one’s
how we form self-awareness. This text piece is one of a series of
path. While walking my labyrinth for the first time I worried that
cognitive drawings that uses alternating parallel intelligible and
I had made a mistake building it and that my path was looped or
nonsensical information to draw a line with attention. It plays with
flawed. I realized that I needed to have faith and that the only way
our intuitive tendency to pay attention to things our brains find
to see if it was the correct path was to follow it completely. The
meaningful and to ignore information that does not make sense.
affirmation I am using while studying self-hypnosis is “”I am exactly where I am supposed to be””, as in, “”I am on the right path””.
IN THE RESIDENCY SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
ELLIS HUTCH
Australia
ellishutchart@gmail.com // ellishutch.tumblr.com Close to the berg the pressure makes all sorts of quaint noises.
One of the questions that interests me is how do explorers and
We heard tapping as from a hammer, grunts, groans and squeaks,
astronauts translate experiences that occur at the limits of
electric trams running, birds singing, kettles boiling noisily, and an
their ability to perceive for remote audiences? Spending time
occasional swish as a large piece of ice, released from pressure,
at Arteles during winter will give me an opportunity to work in
suddenly jumped or turned over.” Frank Worsley, Antarctica 1914
an environment that foreign to me. My working method is to
I’m work with video, photography, installation and sound. I’m
undertake a phenomenological investigation – taking into account
currently obsessed with Antarctica and the moon. I’m fascinated
the insights I’ve gained through historical/archival research and
by photography of remote and extreme environments, and by how
the theoretical research I have conducted into phenomenology,
it’s possible to visit those inaccessible places vicariously inspired
action and perception.
by the images and writings of astronauts and explorers.
Photos: Birgit Larson
THE LOST ASTRONAUT I addressed the residency theme of ‘Silence, Existence,
The lost astronaut images were made as a result of paying
Awareness’ by shifting my usual working methods. Rather than
attention to the feeling of being lost and ‘out of place’. Wearing
starting with historical/archival material and specific concepts
the psychic life-support system my imaginary astronaut was able
to generate the work, I focussed on the sensory experience of
to inhabit the unfamiliar environment while remaining isolated,
walking every day. Leaving at different times and choosing a
an observer.
variety of paths across fields, down roads and into the forest I
The astronaut’s aim is to get to the moon, in the meantime she
confronted my fears of the dark, of walking on ice and of exploring
will continue searching and observing.
an unfamiliar environment.
IN THE RESIDENCY SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
CLARK & MIRÓ USA / Spain MATTHEW CLARK & TERESA MIRÓ matthewclark@mtclark.com & teresa@teresamiro.com // www.cargocollective.com/clarkmiro The collaborative work of Clark & Miró explores issues related
mode of self-healing, which is followed by a change of conduct,
to personal awareness, invisible forces, and habitual patterns
the initial step towards collective awareness and empowerment.
that underlie and shape existence. A seemingly polarized, two
Clark Miró is a collaborative platform established in Phoenix,
sided object or situation is in reality unified. There is only one
Arizona. Teresa Miró was born in Spain and Matthew
continuous side to existence. Good and bad, darkness and light are
Clark is from the United States. They share an intermedia
part of the same whole. Metanoia is carried out by the acceptance
approach to art combining photography, digital illustration,
of this interconnected life, finding value in the negative, and
graphic design, painting, digital modeling and animation.
transforming the thought process. Reforming the psyche is a
YOU GET A LOT OF MAGNETS In a magnetic field, the field is not just within the magnet, it is
Living organisms are much more like the field phenomena than
all around it. If the north pole of the magnet is cut, the result is
like machines. If you cut a plant in little parts, each cutting can
not an isolated north pole, but two magnets each with a complete
become a whole new plant.
magnetic field.
IN THE RESIDENCY SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
SIMON GERRARD
UK
simon.gerrard@gmail.com // www.simongerrard.com Redirecting light and therefore avoiding re-appropriation, I play
lag between mind and emotions. Creating a viewing experience
with the viewers interpretation of light and reality, time and
that deepens our sense of reality and emotional connection to
place. My enthusiasm lies in slide photography and projection/
ourselves/subject in the perceived simple act of engaging with an
installations, the exploration of layering slides and their manual
image. Much of my work is rooted in the belief that we are no
formation, incorporating silk-screened layers with colour reversal
more or less than our surroundings and seeks to create gallery
film. My work explores our connection to the present, sensory
environments that understand our existence rests solely on this
awareness and emotional reactions, attempting to remove the time
relationship.
DELIMITED Delimited’ explores the perpetual reliance on distorted perception
The work seeks to uncover the residual unknown.
and objective matter of fact. It challenges the faith we place in
It traces novel gesture and the absent body, mapping our visceral
existing conceptual structures and examines the struggle of
space to reach a greater depth of awareness.
trying to prevent our thoughts from pinning down immediate
‘Delimited’ manifests in a subjective experience but intends to act
experience.
as a conduit to another.
IN THE RESIDENCY SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
“a time-lapsed trip through chromatic, emphatically dodgy hyper-futurist smog�
SASHA MARGOLIS
Australia
sasha.margolis@gmail.com // somnambulist.squarespace.com Sifting through the sonic waste and discarded technology left by
created soundscapes using various psychoacoustic and binaural
the roadside of a world speeding too fast into the future. Field
techniques and archaic tape based drones.
recordings, found sound, tape manipulation, noise, effects units,
Sasha is supported by the ArtStart grant from Australia Council
digital and analogue synthesis. Currently pursuing live and studio
for the Arts.
TRANSMISSIONS FROM 61째N, 23째E The boreal white backdrop gives way to a muted palette of browns
zero Celsius. Black Christmas. Psychogeography informs an
and greens in a trickle of meltwater and wind. Saunas in sub-
acoustical traverse. Listen:
IN THE RESIDENCY SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
SHAWNÉ MICHAELAIN HOLLOWAY
USA
cleogirl2525@gmail.com // www.shawnemichaelainholloway.com SHAWNÉ MICHAELAIN HOLLOWAY is a dirty new media artist
festival in Timisoara, Romania; lecture at hacker/art festival
from Chicago, IL. Her work critically examines topics such as
Notacon 9 & 10 in Cleveland, Ohio (USA); organize a workshop/
alternative sexuality, racial sensitivity, and social media. From
lecture/panel in Chicago, IL at GLI.TC/H 20112; and write essays
.gifs to live performances, she has shown work internationally
for both the Dirty New Media exhibition at the Barber Institute of
in both physical and online galleries. Some highlights include
Art in Birmingham, UK and the In Media Res online symposium.
invitations to: participate in the SIMULTAN experimental video
I AM CONNECTED TO THE NETWORK AND HAVE THE IP ADDRESS 121.313.1.114 (HOST MACHINE.SELF) < ! DOCTYPE reflection>
or >^^^load””, “”unzipping gigs ov .zip+.rar_s over TLS/SSL
/*
protocols “”, “”cracking unknown file types””, “”(compulsive)
hard focus on high output, s””t focus on content until post-
CTRL+3/prntScrn””, “”contentAware(ness)””, “”persistance /
processing
integration / en)coding””, ;]
> all .info was to be received from 11 pre-configured routing
var visual output = layered.artifacts [“”remi.xxx*d ov >
points: connection successful.
microXpression_sta.xxx > + 30s ov daily fluid online<—> irl
> main routing point: 311.213.1.114 (host machine.self)
integration””]} >
::: job-intention: receive / translate / broadcast / integrate
<?conclusion = $.deepChaos+
#real #truth _n_ a.www.areness al.www.ays) socially<—>
(re)establish(ed) connection to (“”production””, “”input.info.data
creatively ::: socializing or synthesizing #sincere data 4_n_THRU
processing””, “”#realWare””, “”(sub/un)consciousness””,,]
bodies+machines/machinebodies<—>machinedBodies. [
{ echo “”research failed to achieve 100% visual presence _n_
network strength:very strong w/ occasional deadZones {[(¿(/un/
MyPRJECT: “”def_connection_error();}
sub/hyper/)conscious¿??? left undetermined <> due to over(/
$_but_theResult = still successful ($_however,
ab/)USE)]} ; ]
“”OVERprocess*d * OVERpersonal * disruptive * abstrakt)
*/
>> :: installation complete?
< description.fetch = title(“”i am connected to the network and
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IN THE RESIDENCY SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
BIRGIT LARSON
USA
birgit.larson@gmail.com // www.birgitlarson.com Life and artwork for me right now is loosely guided by my relationship
framework. I’m also interested in the history and role of anxiety in
with anxiety. I’ve found it’s a powerful force. By recording others,
mental heath and mental health’s history as seen through artists.
setting social parameters and inventing guidelines of interaction I
I do some fun things too, like having entire conversations with the
have both excuses to face anxiety and reasons to create more of it.
sound “ribbit” or learning to hypnotize myself.
I’ve found I am especially interested in anxiety’s connection to moral
SELF REVEALED THROUGH ORAL COMMUNICATION IN RELATION TO ANXIETY, SO SERIOUS. For the month of December my main focus was to be conscious of
contract to have a recorded conversation with each of the other
building an environment, practice and mindset for myself that had
artists at Arteles about their roots and moments of anxiety. I then
the potential to turn into a project rather than being consumed
edit the conversations so that only my voice is heard. The result
by production of specific goals. I spent a fair amount of my time
is that I force myself to take the responsibility of becoming the
researching, meditating and letting go of projects, emotions and
only subject in the conversation amidst anxiety. The conversation
ideas that I didnâ&#x20AC;&#x2122;t want. My attention turned towards my personal
of myself with silence reveals how I socially adapt and am defined
social habits within the intimate group in relation to habits Iâ&#x20AC;&#x2122;d
through other people and how my vulnerability changes with each
formed living in New York. I wanted to focus on exploring my
conversation.
own anxiety in intimate settings. I put myself in a sort of social
IN THE RESIDENCY SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
â&#x20AC;&#x153; Nothing is ever easy, except when it is.â&#x20AC;?
DAVID BOYCE
Hong Kong / New Zealand
davi9d@davidboyce.net // www.davidboyce.net I am interested in many things. Memory, language, spirituality,
I am intrigued by beauty, but also have a soft spot for ugliness, the
identity and influence are but a few of these. I take these
mundane and the overlooked. I like what people pass by without a
interests and develop obsessions. These obsessions are
second look or backward glance. Where people rush, I try to go a
the base of what I sometimes turn into art. Some of this art
little slow. My work is usually project driven and I can be working
is tangible and exists for extended periods of time, other
on several things at once. Some come to life quickly, others can
times it is offered up into the ether to pass almost unnoticed.
take years of false starts, interesting side roads and diversions.
Stand in front of a camera and think your portrait into existence. Continue trying until you are successful.
Clear your mind. Look into a camera loaded with 5x4 inch film (Black and White or Colour, the aesthetic choice is yours). Think of the face of someone you once loved but love no more. A quarter of a second should be enough. Then take the film from the camera (unexposed, but for your thoughts), and place it where you will forget about it over a period of time.
Place your camera in front of a speaker, (or, preferably, take it to a performance of live music). Think about the camera soaking up and absorbing the music. Take your camera and thinking of the music it absorbed, look for a visual resonance to the music. Photograph that resonance until you feel the resonance dissipate.
In the darkest of night. Walk for 30 minutes holding your camera in your hand with the shutter open. Repeat until exhausted.
EXPERIMENTATION, RESEARCH, AND A DESIRE TO MAKE MISTAKES. I came to Finland with an idea, well actually several ideas, but
experiment with ideas. In the end I felt I made advances on things
one in particular, to make a series of restful, monochromatic
that had been problematic to me for some time. I also started
photographs. I also wanted to do some thinking on where my
to develop a new body of work around the idea of instructions to
art practice was taking me. In the end the monochromatic
make photographs. I am now working on how to present the work.
photographs didnâ&#x20AC;&#x2122;t happen, but other things did. I started to
I also left with a notebook full of ideas for new projects, and ideas
make simple drawings, something I have not done in a long
on revitalising some existing ones. Some of which might require
time. I let myself, no, I encouraged myself to make mistakes and
a return to Finland.
IN THE RESIDENCY November 2013
ARABELLA PIO
Italy
arabellapio@gmail.com // www.arabellapio.it My investigative process involves both aestheticizing and
that fluctuate between fictional and historical anecdotes and
politicizing my personal experiences and relationship with the
where a change, although infinitesimal, can take place, diverting
surroundings, raising questions that concern cultural identity and
imagination from the familiar trajectory.
basic human interactions, among other things.
Formally, my work tends to evolve into photographs, texts,
In these social and cultural inquiries I try to create narratives
installations, spoken-word events, or slideshows.
- PIDÄN SUOMESTA JA SUOMI PITÄÄ MINUSTA (I LIKE FINLAND AND FINLAND LIKES ME) - ADAPTATION VS. HABIT (SOUND INSTALLATION) - FAKE MOOSE TOWER The residency at Arteles was for me a valuable time to explore
immigration in Italy and represents a reflection on the issues and
processes and media I had never approached before, like
implications concerning the phenomena of migration, integration
video and sculpture. Although not concluded they represent a
and mutual trust. The sound installation “Adaptation vs. Habit”
starting point for further reflection and development.The three
focuses on the effort and resistance experienced when usual
projects investigate the inescapable complexity stemming from
mental patterns are challenged and undergo a sudden change.
an encounter, be it between human beings, cultures or nations.
The red moose tower was conceived and experienced as a gesture
The video “Pidän Suomesta ja Suomi pitää minusta” stemmed
of emulation and rebellion against tradition.
from the dramatic consequences of recent episodes of illegal
IN THE RESIDENCY November 2013
â&#x20AC;&#x153; Write more letters â&#x20AC;?
NICOLE GRECO-LUCCHINA
USA
ngrecolucchina@gmail.com Antiquated processes require time and precision that are becoming
linguistics, especially the appropriation and manipulation of
increasingly lost in a digital, mass-produced world. Art forms that
language. Focussing in hand-lettering, signage, and calligraphy,
demand strict discipline -- that are less forgiving of mistakes, retains
she prefers to work as far from a computer as possible. Themes
the sanctity of craftsmanship that cannot be found behind a screen.
that most commonly inform her work include time, memory,
As a self-proclaimed luddite, Nicole Greco-Lucchina is a visual
nuances of verbal communication, and dystopian perceptions of
artist interested in antiquated typographic processes. Her fixation
modern technology.
on typography has led her to explore human relationships with
SKETCH, SCALE, AND SPEED I arrived at Arteles with the intent to approach my time
This included practice in making straight lines, fluid curves, and
in-residence from a technical standpoint. The practice of hand-
uniformity within font families second-nature.
lettering is a craft that requires much time and repetition in order
As a result, I left with a collection of tests that illustrate my
to acquire precision through muscle memory.
process from beginning to end -- a trial and error series that
Because my work is produced solely by manual process, I spent
demonstrates the challenges of kerning and drawing type without
my days studying and reproducing various typefaces by hand.
the help of technology.
IN THE RESIDENCY September - October - November 2013
SUSAN E. EVANS
USA
see@susaneevans.com // www.susaneevans.com Exploring
organization;
installation/sculpture, performance and other forms of hybrid
categorization; processing; evaluation; retrieval; association; and
expectation;
collection;
storage;
combinations, in the execution of her art work. Evans’ works are
dissemination, Susan E. Evans questions the psychological and
represented in the following collections: George Eastman House;
scientific structures shaping information, knowledge, memory,
Los Angles Contemporary Museum of Art; Museum of Fine Art;
image, and landscape. The nexus and overlapping of these themes
Houston; Detroit Institute of Art; Musée de l’Elysée; Southeast
have become her main source of inspiration. A multi-disciplinary
Museum of Photography; Cincinnati Art Museum; Akron Museum
conceptual artist, Evans employs a variety of media techniques,
of Art; The Henry Museum; Center for Creative Photography…
LUONNONKAUNIS SUOMI After analyzing a cross-section of tourism materials, I
During this time, the surrounding soil, vegetation, and weather
identified multiple recurring photographic cues used to
directly interacted with the exposed photographic materials.
communicate the “image” of Finland. The consistent seasonal
It is not necessary to show the final images because they
use of specific visual elements makes these images iconic,
incorporate the well-established photographic memes of Finnish
if not stereotypical. Incorporating these cues, I created
tourism and are quite familiar to its people and those who travel
descriptive text images based on the Finnish landscape and
there. The tension of the work lies in the question of how to handle
then photographed these text “images” onto medium format
(or conserve) these final rolls of film. If they remain as they are, the
film. This exposed film was then transported to Finland.
viewer is forced to trust the constraint of the project and will always
As a means to evidence the ingrained symbiosis between the
question the existence of the images. To process the film takes the
Finnish people and their environment, I cordoned off small
work in another direction: not only would I give up my copyright to
“plots” of land within a variety of regional ecosystems and
the images, the final imagery would be evidence of the subjective
“planted” the unprotected exposed rolls of film into the ground.
observer as well as the unpredictable, uncontrollable environment.
These rolls of film were left in the earth for two months.
IN THE RESIDENCY November 2013
“ I can’t prove you are guilty but I know ”
MIRKO CANESI
Italy
mirko.canesi@gmail.com // www.facebook.com/mirko.canesi My research ranges from traditional painting to digital. I perform
the use of various materials without compromising the plants
urban intervention and viral attacks on social networks. Actually
life; it suggests to the viewer a feeling of empathy with the plants
my main focus is on Nature especially on how it can be part
themselves me finally to decide to intervene directly on leaves and
of an art process and its emotional or conceptual meaning.
vegetation designed as the final support. They contain life: painting
I use leaves and living vegetation designed as the final
on them still attached to the plants becomes painting on life itself.
support; as they contain life, intervenefirectly on them still
In particular, I want to make clear the meaning of violence exercised
attached to the plants, becomes how to work with life itself.
by human intentionality on another living being. The plants which,
In particular, I want to make clear the meaning of violence
by their nature can not react, lend themselves to communicate this
exercised by human intentionality on another living being. The
concept. The “Fall and Rising...” series involves the use of various
plants which, by their nature can not react, lend themselves to
materials without compromising the plants life; it suggests to the
communicate this concept. The “Fall and Rising...” series involves
viewer a feeling of empathy with the plants themselves
STUDIO FOR A NEW â&#x20AC;?FALL AND RISING, FALL AND RISING, FALL AND RISING...â&#x20AC;? PROJECT. During the stay I worked on several projects concerning nature
crushed pine paste to repair the scars of wear within the concrete
and art.
steps at the entrace of the residency. Using nature to repair
In the project pictured above I gathered pine needles from the
the steps makes evident the relationship between nature and
surrounding fores and crushed them into a paste. I used this
environment with both concrete and society.
IN THE RESIDENCY November 2013
JEAN PAUL GOMEZ
Colombia
jeanpaulgomez0@gmail.com // www.jeanpaulgomez.com I refer to domestic environments as markers of transience and
such as eating, walking, cooking, sleeping- as potential actions
contiguous displacement by using furniture and everyday life
for metaphors, as well as references of human condition.
activities, in opposition to public and open spaces. Influenced by
By eliminating the essential functionality of these actions,
my own living transitional patterns, and by my understanding
I elevate their significance to a ritualistic state, encoding
of our collective memory, I work in a repetitive nomadic
the seemingly absurdity layers of content- ranging from the
tendency, in which I record traces of time and human gestures.
poetic to the political- as a vehicle to further the conversation
I explore the possibilities of working with quotidian activities
through metaphors rather than through rational thought.
UNTITLED In my recent body of work I create transitional spaces that
that indicate both physical and psychological transformations.
suggest the process of altering daily life activities into a ritualistic
Influenced by my own transitional patterns as an immigrant, and
state. Through video, photography and installation, I explore
challenging my notion of â&#x20AC;&#x2DC;place,â&#x20AC;&#x2122; I see my work as a constant
the metaphoric possibilities of working with simple tasks such
negotiation between human condition and my hybrid cultural
us cooking, sweeping, walking, sleeping, as potential actions
background.
IN THE RESIDENCY November 2013
AMBERA WELLMANN
Canada
ambera.wellmann@gmail.com // www.amberawellmann.com Ambera Wellmann is a visual artist from Halifax, Nova Scotia.
knowledge, identity and a collective sense of time and space in
Working with imagery culled from photographs and video stills,
postmodern culture. Her work has been exhibited in New York,
she uses painting as a method of exploring the territory where
San Francisco and across Canada, including the Museum of
technology and affect intersect. Often observed with a dark sense
Contemporary Canadian Art in Toronto. She is currently based in
of humour, her work occupies a space between between object
Seoul, South Korea.
and image, questioning the role of representation in shaping
PAINTING Upon arriving in Finland, I was interested in the gradual loss of
a work. They began as straightforward representational paintings
daylight that takes place throughout the month of November.
that were gradually broken down, rubbed away, and layered over
Absence of light produces a particular kind of vision that we call
again in a search for a kind of unseen image. The same way our
â&#x20AC;&#x2DC;darkâ&#x20AC;&#x2122;. Seeing darkness is not a lack of visual input; our eyes
eyes gradually adjust to darkness and reveal things that may
are engaged in a very active inhibitory process, one of stimulation
or may not be there, the paintings took on an ambiguous space
rather than inertia. This principle informed my approach to a
that slowed down perception, where elements of representation
series of paintings created using found photographs at Arteles,
unraveled into abstract mark, and mark became a reality of its
where darkness or obscurity added to the imaginative potential of
own.
IN THE RESIDENCY October 2013
“ My art is an attempt to reflect the constant pursuit of balance. ”
MARÍA EMILIA SILVETTI
Argentina
memiliasilvetti@hotmail.com // www.memiliasilvetti.com.ar My current work is focused on painting, literature and poetry.
spirituality as a search of understanding and personal realization.
I am interested in chaos, nature and the human being.
That research inspired a conceptual project I have been working on
I am now trying to be open to the power of improvisation and perception
which I would like to develop during my residency. It would be an
in the practice of art. As a result of this change, my compositions have
excellent time to merge my usual fields of work and explore other
mutated into abstract and my work with colour was empowered.
methods, ideas and activities.
For some time now I have been interested in astrology and
THE KARMA BUMS COMMUNITY HOLY SPACE My project The Karma Bums Community is a parody of a spiritual
White, Miracle Age Cream, Veggie Burger Seeds, Wonder Protein
community. It was founded by el chico Proteína (Rock star &
Set and much, much more.
Visionary leader), Cony Cilantro (Actress & Love guru) and
In Arteles, I made an installation in the sauna representing a
Georgina Cinnamon (P. R. & Cool hunter).
sanctuary dedicated to
The Karma Bums Community mission is to help people to find
El chico Proteína, Cony and Georgina. I used different objects
happiness fast, easy and cheap.
from the Flea and Free Markets of the area as the offerings to
After heavily investing in Research & Development, they have
worship the idols.
discovered the formula for happiness:
It may not rain Coca Cola to be forever happy. Join TKBC and let´s
LOVE + PLENTY + WORK + INNER LIFE + SOLIDARITY + FUN +
surf together the wave of eternal joy.
IMAGE = HAPPINESS With these concepts in mind, they are developing some products
www.thekarmabumscommunity.com
such as: Love Trauma Cleansing Water, Fast Love Cans, Mind Max
Flip your karma now and visit our Holy Space!
IN THE RESIDENCY October 2013
“ The nature is an illness of our ideas”
GLÒRIA ESCALA VIDAL
Spain
marxapeu@yahoo.es // sandrasadras.blogspot.com.es/ I want to reflect on our relationship with nature that we need to
in Spain since 1933 until today. It is a long history with: a Republic,
control, dominate and exploit it. The organization that we demand
Civil War, the Second World Mundial, decades of dictatorship and
to our environment to feel safe, it may be good for ones and bad for
later democracy. In Finland I would like to uncover other way of
others. The territory is our history, so the places are our memory. In
relating to territory. Arteles is my opportunity to continue in my
my last work I have investigated the history of dams and reservoirs
research.
JOURNEY TO ITHACA In my first photos in Arteles, I uncovered rooms and sites that
kirpputorit (flea markets). All of this frames and distorts light
transparent figures appear who were there instants, but now it
with reflections. We see what we want to see.
only remains a soft footprint. I was speaking about idea of person
I went to Lapland until Ivalo, to a thousand kilometres from
transiting in this space.
Arteles by train and bus. When I arrived I took some photos of
This figures looked like ghosts, maybe because my first impression
river with ice pieces moving. I thought this is the natural crystal
when I stayed in Helsinki in January was to know vision of death in
nine months a year. I had a big experience at end of my trip to Ivalo,
Finnish art like something daily, as winter and night.
when I saw a real frost to sunrise. Kilometres and kilometres of
The big windows of the house, the relation between inside and
crystal trees, white and shining.
outside, the light come into rooms and the darkness. Transparency
I chose Finland for my new art project because I knew just its
of the glass of windows, glass and crystal object that decorates
geographical location and its name that has always seemed the
home (vases, glasses and lamps) I have seen in second hand
end (”end” in spanish ”fin”) of something, perhaps the end of world I know.
IN THE RESIDENCY September 2013
TWO-WOMEN-MACHINE-SHOW IDA-ELISABETH LARSEN & MARIE-LOUISE STENTEBJERG
Denmark
contact@twowomenmachineshow.com // twowomenmachineshow.com two-women-machine-show is a project name under which the
two-women-machine-show is currently supported by the Danish
choreographers and performers Ida-Elisabeth Larsen and Marie-
Arts Council for the early phase of development of their new work
Louise Stentebjerg have joined forces. Since their first collaboration
Who’s my Buddy?, which is bound to premiere at Københavns
in 2011 the duo have been occupied with themes such as mass-
Musikteater in January 2014. The duo has been invited in residency
phenomenon, monoculture, the uniform, and unison movement.
by Laboratoriescenen, Cph; WASP, Bucharest and Arteles Creative
They access their work from three angles: Their choreographic
Center, Haukijärvi. Recently they were awarded with a double
method; Found material in a live-art context, their conscious
grant from the Danish Arts Foundation to continue their research.
approach to the duo format as a genre in itself and lastly by them being Danish their personal experience with mono-culture is an inevitable inspiration to their work.
BUILDING MILITANT BODIES In June 2013 the duo decided to officially declare war upon
specific warfare glossaries and choreographic displays, delving
themselves. Their intention was to overthrow the governing
into institutional military systems and management of bodies
authorship inhabiting them. Taking this rebellion against a
down to alternative activist tactics (feminist movements,
dictating inner voice quite literally, they deliberately confused
territorial liberation, suicide missions and guerrilla warfare).
metaphors with worldly violence. During their stay at Arteles
In many ways their stay at Arteles laid the ground work for the piece
the duo therefore researched on different types of warfare
My Body is a Barrel of Gunpowder (jan.2014). Here the duo aims
strategies and on how to associate these with conceptual
to materialize their struggle against self-regime governance and
and body-based practices. They found a resonance between
use militarism as source material for a dance against themselves.
IN THE RESIDENCY July - August-September 2013
EMILIE MCDERMOTT
France / USA
contact@emiliemcdermott.com // www.emiliemcdermott.com Emilie McDermott is a French and American artist currently
Her art encompasses video, installation and performance. Blurring
working and living in Paris, France.
the boundaries between fiction and reality, she creates immersive
She undertook her art studies at the Sorbonne University in Paris
environments capturing liminal states on an intimate and confined
where she graduated with a Bachelor and Master of Arts in 2011.
scale.
She completed her Master of Fine Arts (DNSEP) in June 2013 at
Her recent work focuses on questions of departures, which evoke
The Ecole Nationale Supérieure d’Arts de Paris-Cergy (ENSAPC),
a loss of links with the living, the dead, places and objects that
where she worked alongside art critics and artists such as
once were but are now left behind. In this space, existing or new
Frederico Nicolao, Bernard Marcadé and Veronique Joumard.
rituals and idiosyncrasies can build a bridge between the past and new life : identity is not lost or abandoned but transformed.
MĂ&#x2013;KKI - IF BEING A LONG TIME AMONG THE OTHER PEOPLE... During my stay at Arteles, I worked on the experience of solitude,
net, alone, between two glass windows in a fair-like environment.
as a state of melancholy, whether desired or undesired, and
I pursued my research with MĂśkki, a two channel video installation,
its consequence in the way we lead and perceive our own lives.
contrasting two experiences of solitude and indirectly cultures,
My first work created was an endurance based performance on
yet which finally converge towards the same question : where to
disorientation during which I unraveled 1 km of knotted fishing
go next?
IN THE RESIDENCY August-September 2013
â&#x20AC;&#x153; Be careful what you wish for.â&#x20AC;?
AMY JOHNSON
USA
amyjohnsonstudio@gmail.com // amyjohnsonstudio.com I have recently been interested in performance and developing a
I have background in ceramics and have further developed my
character that reflects my own life, fairy tales and the landscape of
work with mixed media sculpture, installation, fibers, photography
northern latitudes. Ideas of endurance, solitude, identity, fantasy
and performance.
and reality all weave together to create an unknown narrative. I am interested in exposing feelings of vulnerability balanced with
Amy Johnson is supported, in part, by a grant from the Alaska
strength and reconciling romantic ideals with the often mundane
State Council on the Arts and the National Endowment for the Arts.
truth.
â&#x20AC;?TEMPTED STILLâ&#x20AC;? WORKING TITLE AMY JOHNSON, MYRIAM GUILLAMON, JOSE BAHAMONDE During the month of August, visual artist, Amy Johnson
empathetic social paradigm, began working collaboratively to
worked to develop a character and costume which were not
produce a short film.
only a study and process created by a reflection of new and
With
unknown surroundings but also her experiences in negotiating
cinematography, and 3-D animation this artistic team discovered
something seemingly romantic with the reality of the unfamiliar.
the strength of combining conceptual ideas and skills to develop a
In September, media artists Myriam Guillamon and Jose
project that is rich and layered with experience and visual beauty.
Bahamonde sharing ideas with Johnson regarding myth and
Together these three residents will continue to work together
reality, femininity, the natural world and the necessity for a more
post-residency to complete the work.
histories
and
interests
in
visual/performance
art,
IN THE RESIDENCY September 2013
JOSE BAHAMONDE & MYRIAM GUILLAMĂ&#x201C;N
Spain
myriam@launicasepiacreativa.com // www.lusc.es As a profession, we work in advertisement but as for our common
our very common dreams and fantasies, halfway to dreams and
artistic concerns, we are interested in navigating the new and
sleeplessness. What made us come here, take refuge to the nature,
surrealistic grounds. We are eager to explore the border between
to be very close to our true selves, to unleash our imagination from
reality and fantasy. Thirteen years of living together has proved
bounds of normal urban life.
â&#x20AC;?TEMPTED STILLâ&#x20AC;? WORKING TITLE AMY JOHNSON, MYRIAM GUILLAMON, JOSE BAHAMONDE During the month of August, visual artist, Amy Johnson
empathetic social paradigm, began working collaboratively to
worked to develop a character and costume which were not
produce a short film.
only a study and process created by a reflection of new and
With
unknown surroundings but also her experiences in negotiating
cinematography, and 3-D animation this artistic team discovered
something seemingly romantic with the reality of the unfamiliar.
the strength of combining conceptual ideas and skills to develop a
In September, media artists Myriam Guillamon and Jose
project that is rich and layered with experience and visual beauty.
Bahamonde sharing ideas with Johnson regarding myth and
Together these three residents will continue to work together
reality, femininity, the natural world and the necessity for a more
post-residency to complete the work.
histories
and
interests
in
visual/performance
art,
IN THE RESIDENCY September 2013
ELIZABETH ARMOUR
UK
elizabeth.r.m.armour@gmail.com // www.elizabetharmour.com Designer and Maker, intrigued by the natural world, the people I
My work stems from a curiosity for ‘little hidden gems’ found
meet and the latest technologies.
mainly on the forest floor. I like to ‘tear down’ these plants,
Growing up in a small village on the West Coast of Scotland,
fungi or lichen to find out how they work, where they fit within
overlooking a Loch and surrounded by the lush green landscapes
the natural cycle, observing them closely through drawing
of Argyll, I feel I’ve always had a fascination for flora and fauna.
from life or under a microscope. Through this I create work
I Trained in Jewellery and Metalwork at Duncan of Jordanstone
which highlights the intricacy and beauty of these. I use
College of Art in Dundee graduating in 2012. Since then I have
mixed media such as silver, perspex and 3D Printed nylon
taken part in exhibitions such as the 3D Printshow, Kinetica
to reflect the organic forms, patterns, textures and colours
Art fair, created work for galleries and taken commissions
within my wearable objects. I aim for the wearer to explore
of my jewellery work. I have also delved into my interests
and enjoy all of these elements, with bold statement pieces.
in design for performance (prop making) and volunteered
I wish to continue and develop my work and explore larger scale
working at events for the 3D software company Anarkik 3D.
pieces.
THE EXPERIMENT For me Arteles was a chance to take a breath and have time away
ideas for new designs to translate into metal. I absorbed the
from my normal ways of working, it was a kind of experiment to be
beautiful Finnish countryside as much as possible, collected
without jeweller’s tools..and to work in a studio with no jewellers
natural objects, created ‘spore’ prints, recording these through
at all! At times I found this frustrating- not being able to go to my
photography, video and drawing. Myself and Myriam Guillamon
bench and use specialised equipment; however this allowed me to
Martin also did a fun collaborative project; ‘Mandala’, using neon
think about my practice, my next stage for my return to Scotland.
recycled fabrics, we created large mandala patterns outside in
I researched, read traditional Finnish folklore, learnt how to
the residency grounds. My time in Finland at Arteles opened up
take a good photograph (!) did a lot of illustrations and drew
new ideas and inspiration for future projects.
IN THE RESIDENCY September 2013
DANA BUZZEE
Canada
dana.buzzee@gmail.com // danabuzzee.com I name myself a Witch.
in turn challenging the patriarchal and heteronormativeâ&#x20AC;&#x201C; she is
A woman with an unnatural connection to nature is a Witch, she
a difficult woman. I am a difficult woman and I respect difficult
draws her magic from that connection. A Witch is is problematic
women. Difficult means power when it comes to understanding
to the conventions of her gender and the expectations of her sex,
gender and the context for gender that our society provides
NOITA My stay at Arteles was focused on further developing my own
mediums and in an interdisciplinary way. The diptych that I choose
understanding of what it means to have a studio practice and to
for inclusion in this publication succinctly represents my practice,
research through making. The dedicated time and space offered
my work while in residence, and achieves an aesthetic sensibility
at Arteles allowed me to work on Installation, Performance,
I wish my art to embody. noita grew from trying to understand the
Photography, Zine Making, Sound and Knitting both as singular
connections between this northern wild and the one I call home.
IN THE RESIDENCY September 2013
DANIELLE BLEACKLEY
Canada
daniellebleackley@gmail.com // cargocollective.com/lostkittenprojects Danielle is an interdisciplinary artist and educator based in
impression, something felt and experienced through the senses;
Toronto, Canada. Her artistic work and teaching projects are
an experience that cannot be physically touched or held yet
committed to a focus on language, materiality and the body,
it stays with you, leaving a metaphoric inscription on the body.
In her research and work she concentrates on sense experience,
In residence at Arteles, Danielle plans to research three important
and the gestures and movements that originate in the body:
aspects of Finnish culture: landscape, textiles and the practice of
the breath, the heartbeat, a voice or a touch. Her works
sauna â&#x20AC;&#x201C; and specifically, how each of these connect to, and affect,
explore the ability the body has to receive and archive intimacy
the body. The landscape and light that the body experiences, sees,
and experience. Intimacy, in Danielleâ&#x20AC;&#x2122;s work, is regarded
feels and moves through each day; the intimacy of textiles, their
as a revealing of self; to another person, or a city, or a way
closeness when worn against the body or, covering the body as
of moving the body - perhaps through water, or landscape.
it sleeps. And, the Finnish practice of sauna, its physicality and
Intimacy, in this sense, refers to an encounter that leaves an
ritual, a cleansing act of endurance for the body.
ACROSS TERROIR ‘become like a sheet of blotting paper and soak it all in. Later on
the ink that drenches the page in meditation, question and
you can figure out what to keep and what to unload.’
recollection.
haruki murakami, from kafka on the shore
with a methodology that embraces intuition, sense experience,
‘we write to taste life twice, in the moment and in retrospect.’
the ephemeral, the poetics of landscape and invisible histories,
anaïs nin
I compile articulations that move toward answers, and toward
across terroir is a starting point.
action.
it is an exploration in embracing process, and in research
projects and research to gather with me.
through writing.
the words written begin to unearth what i have found in finland.
writing that involves the body. writing that is larger than the
the incredible generosities, the skies so wide they pull at your
body.
throat, my time atop hiidenvuori, woven moonlight and lakes and
a roll of paper attached to the wall, pouring down to the floor.
forests so magnetic.
i write and write.
i search for threads, and for lines.
my body is intimately involved.
lines that form words, that demonstrate the path from one place
my bare feet lightly touch the paper, my hand leading each
to another, that weave together to form a textile.
stroke of the brush to apply the ink.
and the lines that ground our body into the earth.
IN THE RESIDENCY September 2013
SEZA BALI
Turkey
seza@sezabali.com // www.sezabali.com Seza Bali is a Turkish artist working in the field of photography
photo fair in Amsterdam and Contemporary Istanbul 2013.
in Istanbul, Turkey. She received her BA in Fine Arts from The
Her works mainly deal with landscape and the natural world
George Washington University and her MFA from San Francisco
through which she explores the notions of real, imagination,
Art Institute. Her work has been exhibited internationally
space and the sublime. She is interested in photographyâ&#x20AC;&#x2122;s ability
including in Elipsis Gallery, Istanbul Turkey; San Francisco
to create a new visual world and and is always curious to see what
Airport Museum, Togonan Gallery, Space Gallery and Root
a moment will look like as a photograph.
Division in San Francisco, CA. She participated to UNSEEN
PROCESS PROGRESS / PROGRESS PROCESS During my time at Arteles I worked on several ongoing
I take bits and pieces of the natural world (photographing
series. One body of work was about
practicing the act of
elements such as trees, branches, foliage, hay) and use them
photographing and observing my surroundings - a response
to create imagery that is rooted in symmetry and repetition. The
to my experience in an unfamiliar place. Another series was
original photograph is no longer recognizable and the resulting
about combining two of my strong interests in my art practice:
images are reminiscent of tiles by their size and shapes.
the natural world and usage of patterns and symmetry.
The beauty found in symmetry is simply undeniable; and in the
In the last years of my studio practice, I have been using
root of my practice I want to create beautiful images. The natural
photography as a tool rather than its intended purpose of freezing
world is where I find my inspiration; textiles, wallpaper, geometry
a moment in time. Often I use a photograph with which I create
and decorative tilework are what feed my imagination.
a new visual language by digital alterations and interventions.
IN THE RESIDENCY August 2013
â&#x20AC;&#x153; Creating through experiences.â&#x20AC;?
PAOLO GRIFFIN
Canada
nix.griffin@gmail.com // www.pgriffinmusic.com Currently, my work is focused on achieving a hybrid between
to realize this ambition by creating a dance set that combines
the traditional Western genre of art music (which we know as
the lively and complex rhythms of Peru, with the rich, complex
classical music and its modern form), and Latin American music,
harmonies of Western art music.
specifically, the music of Peru. During my stay at Arteles, I hope
METAL CONSTRUCTION - MUSIC FOR ELECTRONICS VUELTA - MUSIC FOR PERCUSSION & DANCERS I had two goals at Arteles: I wanted to write a piece of music
I also wanted to begin exploring the world of electronic music and
that drew on the rhythms of Latin America, while also drawing
electro-acoustic sounds. Over the course of the month, I became
on the rich harmonic tradition that comes from what we
more proficient at using different sequencing and music-oriented
know as classical music. The result is a work-in-progress
programs, and the result of this was my first electronic piece,
of music intended to be choreographed for four dancers.
titled â&#x20AC;&#x2DC;Metal Constructionâ&#x20AC;&#x2122;.
IN THE RESIDENCY June 2013
â&#x20AC;&#x153; The important thing about one liners, like art and soup, is knowing what to leave out.â&#x20AC;?
IAN NOLAN
Ireland
inolan@live.com // http://iannolan.weebly.com Ian Nolan is an artist living and working in Dublin, Ireland. He
Dublin City. His work deals primarily with the way we encounter
graduated from The National College of Art and Design in 2012
and perceive our relationship to the world around us. Working
with an Honours Degree in the History of Art and Fine Arts and
primarily in painting, installation and intervention, Ian attempts
was the winner of the Model Niland Residency Award at the 2012
to create situations where the consequence of the relationship
RDS Student Art Awards. Since leaving college, he has been
between the individual and their environment is brought to the
exhibiting in group shows across Ireland and internationally and
fore.
is co-founder of ArtHouse, a collaborative arts initiative based in
PROJECT TITLE: LIVING IS EASY Shortly after my arrival in Finland, I began to consider how little
I exhibited a segment of grass I had sectioned off and removed
say I had in the ways and means I use to function in the world
from the earth, alongside a workbench designed to contribute
and to relate to the places I inhabit. An attitude soon developed
to its maintenance. The workbench itself was stocked with the
whereby I would try to use my time to cultivate my own personal
materials that formed part of my ritual developed in sustaining
relationship with the environment. I began by devising ways of
my relationships and myself during the course of the residency
growing berries and plants using discarded wood, metal and
and on a daily basis, attendants of and visitors to the gallery
plastics as materials and making use of water I drew from a
would repeat the ritual itself in the maintenance of the grass.
disused well. A ritual slowly evolved where time was spent
The result is a performative installation where object, ritual and
working with my objects and where time was spent reflecting,
concept intertwine and where narrative is continued, developed,
socialising, playing music etc. also and soon I realised how all
altered and shared by others in the sustenance of a narrative of
these forms of habit and ritual formed part of how I related to the
relation I myself began.
places and situations I encountered. For the exhibition at Hirvitalo
IN THE RESIDENCY July - August 2013
â&#x20AC;&#x153; To go almost unnoticed, until a subtle absurdity emerges upon closer investigation. â&#x20AC;?
LYNDON BARROIS JR.
USA
lyndonbarrois@gmail.com // lbarroisjr.blogspot.com My recent compulsion to re-fashion history has led me to crafting
contemporary, regular with the absurd, threading the past and
images that offer an updated interpretation of the characters
present, from one cultural construct to another.
and symbolism of the Kalevala epic. To bridge tradition with the
FOREIGN IMPOSITIONS First Impostion //
Second Imposition //
Probing the Kalevala for significant objects and representing them
Using vintage Suomen Kuvalehti magazines to create drawings in
as contemporary subjects of high fashion. Visualizing absurdities in
which a mysterious symbol has infiltrated a sun-bleached society.
the text to explore what is lost in the gap between language and image. Projects fueled by a fascination with the plight of Moomin Valley materialized in my mind only.
IN THE RESIDENCY July - August 2013
ADDOLEY DZEGEDE
USA
addoley@gmail.com // www.addoley.com Currently, my focus is on the connection between objects/
on my personal history. While in Finland, my hope is to find/create
materials and memory. I create sculptures, installations and
some kind of material connection to my Finnish ancestry, of which
animations that make use of objects/materials in order to reflect
I know very little.
EPHEMERAL PAST > MATERIAL PRESENT I came to Arteles at the height of summer, when the sun stayed
where my great-grandmother used to live (now a pizza
out to play and a new type of berry seemed to ripen each week.
shop and a chili shop) and work (a factory building that still
While exploring my Finnish roots and trying to find a personal
stands, but as housing), to obtaining photos and architectural
connection to Finland, I found myself highly influenced by the
drawings of these places from archives in Tampere. These
presence of “”being here””. The difficulties in language, the
findings will continue to inform my work in the near future.
incessant mosquitoes, the pleasures of seasonal food and the
It would be remiss of me to not mention the vast amount of
Kalevala all found their way into video works that I completed
desserts I made at Arteles, from Mustikkakukko filled with
during the residency. This was a surprise to me, as I had expected
bilberries picked in a nearby forest, to a Red Currant Cardamom
to make sculptures and installations, in addition to animations.
cake dotted with berries growing on the lawn outside my bedroom
During the second half of my stay, I discovered rich and
window. These delicious experiences have led me to wonder how
varied information about my family, from seeing the locations
food, as a sensual experience, can play a bigger role in my work.
IN THE RESIDENCY July 2013
HEATHER SINCAVAGE
USA
info@heathersincavage.com // www.heathersincavage.com My work is a process of question and response. I tend to assess
with having answers but instead the methodology one creates to
materiality and markmaking as a conduit for that process. Often
ask the question then further how the journey of answering the
the question begins simply. But often simple questions expand
question unfolds. Its a relationship in contrast; a push and a pull;
to dissect one’s identity, formation of “self,” and the facades
a transparent dialogue between sides.
or barriers we create for ourselves. The work is not confused
THAT WHICH WE HOLD DEAR (STUDIES) “That Which We Hold Dear” is a new body of work that I began
The work, typically involving a reflective surface, invites the viewer
to develop at Arteles. In much of the work, drawing of the circle
to contemplate their identity and their follies in what would seem
becomes a reflection of the wholeness one looks to achieve
to be simple tasks- drawing a perfect circle, creating a cube, or
during analysis of the “Self.” This involves self reflection, the
splitting a tree. The result of each task suggests the beauty in that
acceptance of errors, facades and props we build as coping
imperfection.
mechanisms, indecision, and the accumulation of experiences.
IN THE RESIDENCY July 2013
“ Keep your love of nature, for that is the true way to understand art more and more.” Vincent Van Gogh
VIOLET SHUM
Hong Kong
violetshum@yahoo.com.hk // www.violetshum.com Violet Shum Ka Wai, born in Hong Kong. She gained the VSC
some tradition methods. I want an art that makes sense of, and
Freeman Foundation Asian Artists’ Fellowship 2010-11, and in
evokes the emotions that we can feel and experience, and this
2012, the finalists and the People’s Choice Award of Cliftons Art
method can compensate for the value of the material that has
Prize. Shum have few different roles cross graphic and visual
never been revealed. I think that the skills inherent within the
artist. She participate in art as well as the educational projects.
unique nature of that emotion and the repeated experience could
Through an existence in multiple identities and perspectives,
be read in different ways. I am experimenting with the creation
Shum realises her own values and aspirations.
of a situation to examine the relationship between viewers and
The era of industrial development, interpersonal relationships
the artworks, and the issue of its interpretation. My artworks are
were relatively simple; now with scientific progresses, this
about nature. I know that the change of the forms is the key to
relationship seems to have a complex development. I have been
understanding. By using traditional methods to transform these
using industrial materials in the making of art and dealing with
materials invited the audience to participate in the discussion.
NATURAL SCENERY FROM HANDICRAFT Looking at my multi-dimensional works: from Glorious Times: big
In my works I replace some traditional art such as painting
scaled golden flowers made from barbed wire, to Plastic Swarms:
and wood carving with popular handicrafts that could earn a
grasshoppers made with waste plastic, and A! Project: sunflowers
living such as weaving and tying. These handicrafts not only
made with dried grass, it is not difficult to find some common traits
respond directly to the production mode of the present society,
in the way I present my works and use materials, and the evolution
but also correspond to its paradox chemistry. On one hand these
of my concepts. All my works reveal figurative natural products with
handicrafts and skills are still in current use, though not everyone
flexible use of artefacts such as barbed wire and plastic bags, etc.
knows how to do, yet they are still within reach in daily life. Many
Most probably, many viewers would easily refer these
people think that they are the “latest” handicrafts. However,
artworks as a response to the Post Industry environment.
at the same time, these handicrafts are gradually diminishing.
Actually we often neglect the fact that Industrial Revolution
When I use artefacts as materials in my work, I hope to bring
didn’t give too strong an impact to the artwork, except those
the spectators from a high-tech society to a more humane
commercial painting, for until now many artists still express
environment. I try to bring the audience into a hand-crafted
themselves by painting stroke by stroke on the canvas.
nature, and seeing these works tangle with nature and the city.
IN THE RESIDENCY June 2013
SHARON LACEY
USA
sharon@sharonlacey.com // sharonlacey.com // Currently working and living in Boston, USA Most of my works are oil on linen. My interests include the
imagery emerges through the painting process itself without
human figure, the painting process, and art historical precedent.
direct use of external sources. I have studied art, literature, and
I use traditional techniques in my work with an interest in how
art history at the Catholic University of America in Washington,
the continuity of methods from earlier periods to the present
DC, the New York Academy of Art in New York, NY, and at the
day supports images that convey the universal rather than the
University of London in London, UK. My current research interests
parochial. I prefer depicting common human actions rather
include early craft treatises, paint technology, and the history of
than those specific to a particular time or place. Each series of
artistsâ&#x20AC;&#x2122; workshop practice and training.
paintings begins with a particular formal concern and the specific
IDYLLS (FOUR DIPTYCHS) At Arteles, I worked on a series of oil paintings on paper
operate visually as a single shape, and lately I have tried to use
entitled â&#x20AC;&#x2DC;Idylls (Four Diptychs)â&#x20AC;&#x2122;. Both the diptych format and
figure groups in a similar way in my paintings. As with my previous
the multiple figure compositions relate to my recent studies in
work, the imagery in these diptychs emerged through the painting
medieval manuscripts, in particular Bodleian, MS Tanner 184.
process itself with no preliminary sketches or external sources.
I am intrigued by manuscript paintings in which groups of figures
IN THE RESIDENCY June 2013
HENRY ANDERSEN
Australia
info@henryandersen.com // henryandersen.com // Currently working and living in Berlin, Germany I grew up in Perth, Western Australia where I studied composition
I am interested in the contexts in which people receive sound.
and music technology at the Western Australian Academy of
I am interested in music and sound tailor made for specific
Performing Arts. From the beginning of this year, Iâ&#x20AC;&#x2122;ve been
spaces or situations.
living in Berlin and studying with composer / sound artist Peter
I am interested in music that shirks its traditional responsibility
Ablinger. Since moving to Berlin, Iâ&#x20AC;&#x2122;ve increasingly found my
as storyteller and embraces its potential as sculpture.
interest drawn to projects outside the normal scope of musical
I am interested in how artists from different media collaborate in
performance. This has meant broadening my practice to include
the absence of a shared language.
works for galleries and other non-concert hall settings, works for
I am interested in sound as a cultural trigger point or statement
non-musical performers or for no performers at all.
of identity.
For me, this is not an alternative to my work as a composer but
I am interested in imagined and inaudible sound.
an extension. It allows me to explore those interests of mine that
My time in Finland has given me a valuable opportunity to
I canâ&#x20AC;&#x2122;t explore through standard musical situations.
establish and play with these interests.
SAD SONGS IN GLASS JARS’ & ’THE RIPE ONE BE RADIANT’ Sad Songs in Glass Jars:
uses two homemade contact microphones connected to the
With ‘Sad Songs in Glass Jars’, I wanted to create a small,
underside of a canvass. These microphones amplify vibrations
private experience for the listener. The piece consists of
in the canvass through two speakers in the performance space.
three speakers positioned in glass jars. These speakers
In this way, The Ripe One be Radiant uses both sound and
play recordings of 1920s blues, jazz and early American folk.
paint to illustrate the play of gestures that make up the piece.
The jars are placed on the ground with the speakers playing very
Two performers take it in turn to make a gesture on the canvass
quietly so that listeners must kneel down to the ground to receive
and erase the previous gesture of their competitor. As this is
the sound. Amplified through the glass jars, these recorded
happening, the performers use a roller to gradually fill the
sounds become small and fragile. They act via suggestion
canvass with blue paint - the piece is finished when the entire
and association rather than simply as sounds in themselves.
workable area has been covered. Within this simple framework, the performance is improvised. I’m interested in the tension
The Ripe One Be Radiant:
between the two performer’s backgrounds this affects the
‘The Ripe One be Radiant’ is a performance piece exploring
choices they make while performing. The piece was performed
the role of gesture in conversation and competition. The piece
at Heiska by painter Sharon Lacey and dancer Irina Baldini.
IN THE RESIDENCY June 2013
“ Air and light and time and space and a human being in such a landscape.”
ADAM GIBSON
Australia
adamfgibson@yahoo.com.au // adamfgibson.com // Currently working and living in Sydney, Australia Adam Gibson is a Sydney artist whose work covers spoken word,
2010 at the 2010 Overland Poetry Awards and whose second
music, installation art, performance works, sculpting, video work,
album was described as “”an Australian classic””, with the
painting, photography, among other things… It is a fundamentally
band lauded as “”one of the most valuable in Australia””.
“landscape-based” practice, being influenced by land views and
Adam has also exhibited in a number of Sydney spaces and
travel and sense of being “in” and/or part of different environments.
galleries, took part in the 2010 Shanghai Porosity Studio at
He performs regularly with his band The Aerial Maps,
Donghau University, Shanghai, is currently completing a Master
whose first album won Best Spoken Word Release 2005-
of Fine Arts, (PhD. eventually) at the College of Fine Arts in Sydney and is actively involved in a wide range of artistic endeavours.
AUSTRALIA RESTLESS’ (IN FINLAND) I am looking at “”longing”” for certain places. I am looking
could only really “”see”” and write about America once he was
at missing things. I am looking at moving and travelling and
out of it, and in a similar fashion I have used my time at Arteles
the associated gains and losses. My life has been one of
to look at my vision and sense of Australia, and attempt to
movement and new cities and towns and horizons and land-
understand my longings for that landscape and what it is I miss.
and sea-scapes. All my life, it’s an inventory of absence. What
In concert with that, I have also sought to attempt to articulate
signifies the places we pass through, what do we lose in the
the feelings that have specifically arisen from being immersed in
moving-forward, the landscapes and places we forget, or those
Finland and the Finnish landscape. This has yielded a number of
which lodge deep in us and we feel a near-physical loss for?
video and photographic works, plus a collection of spoken word
At Arteles this year I have been working on a series of linked
tracks. How these will develop in the future, and how they fit into
works under the title of “”Australia Restless””. This goes to my
my broader work, I am as yet unsure, but they feel resonant and
sense of longing for a sense of “”home”” landscape but also
felt necessary to do whilst at Arteles.
my restless need/desire to travel the world. Hemingway said he
IN THE RESIDENCY May 2013
â&#x20AC;&#x153; I am a Scottish artist currently living in London.â&#x20AC;?
KADIE SALMON
Scotland, UK
kadiesalmon@hotmail.co.uk // www.kadiesalmon.wix.com/kadiesalmon // Currently working and living in London, UK My practice is driven by my fascination with historic notions
and story-telling, and how these qualities or references are
of romance and desire and how these can be re-used and
manifested in visual art. I tend to explore this in my own work
re-interpreted in a contemporary context. I am constantly
by breaking up narrative sequence, displacing and contrasting
searching for new sites, characters and stories that I can explore
images whilst disrupting and playing with space: this usually
and dissect; pulling out the details that I feel are significant and
results in a collage of visual imagery and medium in the form of
using them in my own work as a displaced symbol of romanticism.
photography, sculpture and installations.
For some time now I have been interested in the use of narrative
DON’T KNOW HOW TO TELL’ (THE TITLE FOR MY BODY OF WORK THAT I MADE WHILST ON THE RESIDENCY- A COLLECTION OF PHOTOGRAPHS AND MODELS) I have spent the last month at Arteles furthering my research
I produced a series of long exposure photographs alongside small
into notions of romanticism and narrative particularly in relation
models of the surrounding architecture and local structures that
to the beautiful, vast landscape, isolated buildings and the
I felt drawn to.
traditional folklore and stories that are associated with Finland.
IN THE RESIDENCY May 2013
“I am an observer, an explorer, a collector of experiences.”
JAMES GOW
Scotland, UK
jamesgow@hotmail.com // www.jamesgow.com // Currently working and living in Glasgow, UK My
and
and the people and places I have encountered have shaped and
public art, reflects my preoccupation with both people and
work,
which
spans
environmental,
community
directed my practice. Co-creation and collaboration are often at
place and the stories, memories, hidden histories that
the heart of my work - bringing people together through a piece
reside in both. I record what I observe through a variety of
of collaborative artwork has been integral to my development as
media – I travel light and often use what I find on my journey.
an artist. The rich layers that make up a community, a place, its
My travels have taken me across Scotland, Finland and beyond
people, are peeled away and recorded through my practice.
HĂ&#x201E;MEENKYRĂ&#x2013;, PEOPLE AND PLACE During my residency at Arteles I was overawed by the endless
us during our visit to Finland. This culminated in an intimate
Finnish skies, the stunning Finnish landscapes, and how the
series of postcards that link the places I am drawing to people
Finnish people have left a lasting mark on the environment.
exploring the Finnish landscape and their own connections to
My explorations of the local environment inspired a series
it. The series of postcards reflect our personal connections
of line drawings, examing how people interact with the
to the environment in and around the Arteles Creative Center
places they occupy and the lasting effect they leave behind.
and reveal our temporary place within these environments
I deliberately omitted trees and people from my landscapes;
as well as our personal inspirations each place provided.
by doing so I aim to reveal the vast space that humanity
This series of postcards will be produced when I return home with
barely fills and emphasise our fleeting time in this world.
each artist receiving their individual postcards to be posted from
I worked with other residents at Arteles to produce a series of
wherever they are in the world back to the center, leaving Arteles
collaborative pieces that reveal the places that have inspired
a lasting memory of the effect the place has had on us.
IN THE RESIDENCY May 2013
“music is a constant practice, a continuous searching process.”
NIZHA SALIM BUSTOS
Argentina
nizha_s@hotmail.com // www.facebook.com/NizhaSalim // Currently working and living in Salta, Argentina I am a musician. My instruments can be either the violin or my
point of view emotion is the motor that pulls the melody
voice. The ways or forms in which i will make music can vary
through and it is there where it’s escence and meaning relays.
depending on different factors, but i can say that is through mel-
For me music is a constant practice, a cointinuous searching pro-
ody that i can better find a way to express myself and to explore
cess, there’s always a new place to explore, new ways to say and
and search for different and new possibilities in the sound field.
sound.
What I will always seek in a melody is emotion. From my
FINNISH SKY In Arteles I worked on a series of compositions that found
Although the work is still in progress I am updating some
inspiration in Hameenkyroâ&#x20AC;&#x2122;s landscapes and surroundings.
of the work in my profile site in facebook and soundcloud.
My research was centered on finding the emotional meta-
This whole month in Arteles gave me the time and space for con-
phors that the environment evoqued in me. The absorv-
templation and research for new motives of inspiration. But it was
ing beauty and quietness of Hameenkyro brought a com-
also an amusing group experience of sharing and learning from
plex palate of emotions, sensations, sounds, words, images
each other.
which i would later try to sinthesize into songs and lyrics.
IN THE RESIDENCY April-July 2013
“ Live, learn, share.”
OLLI HORTTANA
Finland
vonhorttonspictures@gmail.com // https://vimeo.com/user7923950/videos // Currently working and living in Helsinki, Finland I’m a visual artist, focusing on short films. The most important
have been editing television for many years. I have been working
aspects in my films are feelings, emotions. As my main work I
as a photographer too.
SILJAN SUVIYÖ (SILJA’S SUMMER NIGHT) I did a short movie, based on a novel by Frans Emil Sillanpää, Finnish Nobel Prize winner in literature. A Girl, a boy and a summer night.
IN THE RESIDENCY April 2013
â&#x20AC;&#x153;Art should be accesible and productive and not alienate the general public.â&#x20AC;?
DUSTY RABJOHN
USA
drabjohn@gmail.com // www.dustyrabjohn.com // Currently working and living in Chicago, IL USA I am an artist and teacher. I focus primarily on painting and am
I seek to produce work that is meaningful and relevant and com-
driven by current sociopolitical issues. I think art should be a
municates to the general population.
democratic form, accessible to those who seek engagement with it.
AWKWARD ANIMALS At Arteles I created a series of large-scale paintings depicting
view on issues like corporate globalization, nationalism, borders,
animals native to Finland in situations of conflict with human
and urbanization. I also wanted to create a site-specific mural
social structures. I like the use of animals as metaphor for indig-
for Arteles which resulted in a lonesome cowboy, isolated in a
enous culture and I think they serve to provide a more objective
disco room.
IN THE RESIDENCY April 2013
“Think it over, think it under”
SENA WOLF
Poland
senawlf@gmail.com // senawolf.com // Currently working and living in New York, USA Sena Wolf is a multimedia artist based in New York City. She was
Artist’s statement:
born in Wroclaw, Poland where she studied Cultural Theory at
I am invested in the visual traits of the processes that create the
Wroclaw University. She received her BFA degree from Hunter
present- day concept of the other. I explore the space Homi K.
College of New York, where she was the recipient of a Kossak
Bhabha calls ‘in-between’, a space which has a potency to elabo-
Painting Fellowship. Her work has been exhibited in New York
rate a new personal or communal identity. In my performances, I
at the Bertha and Karl Leubsdorf Art Gallery, the Leslie–Lohm-
reenact and reinterpret the moments and processes that contrib-
an Gallery, and The Rotary. Her work has included installation,
ute to the articulation of the difference in culture. I understand
sculpture, video and performance and addresses social and cul-
these processes to be formulated performatively by an individual
tural issues.
and by how individuals position themselves to create a subjective perspective of their own cultural otherness. In my work I often focus on the compartmentalization of the spaces we inhabit, as a mean of symbolic designation of one’s identity. By rearranging the components of the space, I deconstruct the visual stories they tell and create alternative narratives that enable the viewer to move beyond their own singular perspective.
METAMORPHOSIS In ”Metamorphosis,” the performer carries out the simple act of
performance is the liberation from the abundance of the mate-
cutting cloth. In the background, through distorted radio waves,
rial followed by a symbolic, ritualistic act of constraining one’s
we hear instructions on how to create a large-scale flag. The
vision (understood as both a positive and a negative separation).
shots of cutting are intertwined with scenes of the performer
Another perspective comes from the video medium itself, which
blindfolding her eyes with cut pieces of fabric. Every layer creates
captures different shapes, each suggesting a new association.
a new association—a terrorist, a death row inmate, a ninja.
The flag, a symbol of ultimate ownership, bonds these two acts
The first aspect of “Metamorphosis” which dominates the actual
and puts them under an absurd yet suggestive persecution.
IN THE RESIDENCY April 2013
“Painting is like riding a wild, untamed thing.”
AGNES FIELD
USA
agnesfield@gmail.com // kala@hipfishmonthly.com // Currently working and living in Astoria, USA Agnes Field’s studio is based in the empire of Astoria, OR in the
employed as an artist/painter and curator. She works with mixed
middle of NW Cascadian wet and mossy landscape on a 50 acre
media on a variety on surfaces-always looking for what is beneath
sustainable farm. She completed her Masters degree in studio
the surface.
fine art at New York University and since then has been self-
SOINTULA: FINDING HARMONY Experimenting using sauna ash and paint/photography searching
harmony. Completed about 70 small images using ash, paint and
for images that express the feeling of accord, a tone of cultural
photography and sculpture relating to the found environment.
IN THE RESIDENCY April 2013
“Photography allows me to study the nature of existence.”
VIRPI VELIN
Finland
virpi.velin@gmail.com // www.virpimirjamivelin.blogspot.com // Currently working and living in Helsinki, Finland Photography allows me to study the nature of existence. I’m
me, how they are built and how they manage to stay together or
interested in scale, distance, optical illusions, aerial view points,
why they fall apart. The visible reality seems to be a reflection
codes, cryptics and inverted images. The camera transforms
of an invisible, emotional and intellectual reality. Moving to those
into a microscope as well as a telescope. Different structures,
unknown areas where rules and structures dissolve and new view
emotional, cultural, material structures and systems interest
is revealed, is an ongoing and fascinating journey.
TRACE, TRACK, RACE, TRACK, GRACE. During my residency in Arteles I aimed to re-connect with the
tracks and made a series of photographs with tracks of a fallen
feminine archetype and force of St. Mary, that revealed herself
cloth on the soft surface of new snow. In the process I inverted the
to me while I studied and worked in ENSP, Arles, France in 2009.
photographs and they became traces of Mary of Egypt (ca. 344-
Committing to being outdoors, walking daily and making photo-
ca. 421), who changed her life profoundly from a prostitute into a
graphs of what I saw and experienced in nature, helped to rebuild
hermit. According to the writings of St. Sophronius , she lost her
this connection. In Arteles I was inspired by human and animal
clothing over time while walking in the desert.
IN THE RESIDENCY April 2013
“The truth is not out there.”
KRISTY HEILENDAY
USA
k.heilenday@gmail.com // www.heilenday.com // Currently working and living in Richmond, Virginia, USA Kristy Heilenday received her B.F.A from the School of the Arts at
Kristy researches different beliefs and will sometimes try to con-
Virginia Commonwealth University in Richmond, Virginia in 2010.
vince herself of their legitimacy, which she does by following vari-
She creates private commissions, illustrations for publication
ous research channels that assert the reality of the idea. This pro-
and an ongoing body of personal work. She participates in various
cess allows Kristy to bounce back and forth between reality and
group shows, both locally and internationally, and has held two
perception, representational and abstract. She says she wants to
solo exhibitions.
believe, because believing is fun, but at the end of the day her
She is interested in the idea of beliefs – whether they’re related
reason and skepticism tend to take over. However, she doesn’t
to science, folklore, myths, conspiracy theories, or religion – and
try to act like the authority on any matter; she simply enjoys the
where people choose place their convictions, however probable
investigation and invites the viewer to make his or her own inter-
or tenuous the concepts may seem.
pretation.
MYSTERIOUS FINDINGS I committed my time at Arteles to exploration. I researched new
expanses of the Arteles property and beyond. I used these various
ideas, worked with new materials and processes, probed my fel-
bits of information as inspiration for my new work, which I will
low residents and new acquaintances for their experiences and
continue to create in the months following my residency.
knowledge (of the bizarre or fabled variety), and explored the
IN THE RESIDENCY April 2013
â&#x20AC;&#x153;I am an analogue film and photography artist!â&#x20AC;?
MARTHA JURKSAITIS
UK
cherrykinocinema@yahoo.com // www.cherrykino.blogspot.com // Currently working and living in Leeds, UK Iâ&#x20AC;&#x2122;m an analogue film and photography artist with a specific interest
developing film in a coffee-based developer and fixing the film in
in the sensual possibilities of analogue images and their potential
salt water. I also run a small film art organisation called Cherry
to help us expand our sensual consciousness and reach a deeper
Kino that aims to make analogue film more accessible to others
connection with the material and energetic worlds we are part of.
through workshops and resources, and I am passionate about the
I use Super 8 and 16mm film, as well as small, medium and large
huge variety of aesthetics and expression that analogue film for-
format photography, and I hand-process all my work, preferring
mats make possible. Having a deeply personal approach is cen-
a tangible approach to my materials. I love to explore unusual DIY
tral to my art, as I feel that through being as personal as we can
methods of image-making, and have recently developed a strong
be, something universal can emerge.
desire to look at more ecologically sustainable processes, such as
TRAVELLING LIGHT At Arteles, I decided to pursue film and photography methods
Polaroid film in various formats, including creating pinhole Pola-
that tread a little lighter on the earth, exploring the use of cof-
roids using a variety of exposures and handmade photographic
fee, washing soda and vitamin C to make a film developer, and
filters. I wrote a lot of poetry while at Arteles too, which was com-
fixing film in saltwater, using ingredients that were all sourced at
pletely interconnected with the images I made, and the freedom I
the local shops. I made some black and white Super 8 films, and
feel here has enabled me to gain a whole fresh perspective on my
applied non-toxic watercolours to them, as well as shooting some
artistic direction and to combine my ideas, emotions, technical
16mm photography using vintage spy cameras from Russia and
skills and intuition into an integrated whole that feels authentic
Japan and loading them with high contrast microfilm. I also used
and good!
IN THE RESIDENCY March 2013
“Don’t talk about it be about it.”
AMBER DOE
USA
amberdoe@gmail.com // cargocollective.com/amberdoe // Currently working and living in New York, USA Amber is an artist, a canaille, a former Quaker school attendee,
rapher, canary, fire starter, fashion and textile lover, mom and
an aries with a moon in cancer, and rising sun in virgo, a sculp-
grandmom fan, amateur motorcycle photographer, storyteller,
tor, filmmaker, jewelry enthusiast, performance artist, choreog-
traveler, and bon vivant.
2.
1.
3.
4.
5.
1. GOD PARTICLE/HIGGS-BOSON - SCULPTURE. 2. CHAPEL - SITE SPECIFIC INSTALLATION. 3. DOLLY AND ME - VIDEO. 4. I AM NOT SORRY - CANVAS AND THREAD. 5. THIS IS NOT ABOUT RACE - CANVAS AND THREAD. LUMI CREW - CHOREOGRAPHER, DANCER.
Developed with my fellow artists and residents an artist dance
not sorry is is a series of small hand sewn canvas frames. The
troupe called Lumi Crew.
piece explores my overuse of the word “sorry” and habitual apolo-
God Particle-Higgs Boson/ Chapel are sculptures inspired by the
getic manner. It is intended as a fun, cathartic release from the
discovery of the Higgs-Boson also known as the “God Particle.”
polite and gendered box I feel trapped in most of the time. this
The Higgs-Boson is thought to be the key element that holds the
is not about race is a cheeky statement about being a minority.
physical fabric of the universe together. Chapel is site specific
Growing up as a black female in America everything always feels
installation that works in tandem with the God Particle exploring
about race first and gender second. It’s about wanting a feeling
the human need to create and build places to worship together.
of freedom even if it’s fleeting and can only be felt through these
Dolly and Me is an ongoing video project exploring identity. i am
hand sewn boxes.
IN THE RESIDENCY March 2013
ALBERTO VENTURINI
Italy
albertoventurini@hotmail.it // Currently working and living in Milano, Italy I am one, zero, confused and inconsistent. Lost, I keep wander-
less fuses, move me like a puppet, burn to ashes and come back
ing, my works don’t dry up in themselves, unfinished they are part
to life. Sometimes the fight makes my will still, active power with
of an endless chain.The direct object turns into subject. Binary
no fuse, intentional slight paraly- sis, victim of not being what I
codes dart, supposedly unreadable. I don’t want to dismantle
want. I am one, but among many that I analyze and study and
them, I don’t want to see the gears, I follow the sparks, they go,
mistrust, the comparison is unavoidable and is water. Anorexic
they blow on me. No free will, visceral instinct, incalculable cre-
or bulimic, I still need to feed before throwing up. Inconsistency
ative violence and cuckolded referee. Failures, vital lymph, end-
keeps me alive and makes me fight it every time through flattery.
OUT OF OUR OWN PRIVATE IDAHO The first part of the performance was a silent walk. During this
notes inside the natural staff, in a various and unpredictable way.
walk, body language and sounds were the only way to commu-
The ambient was interpreted as a huge sounding board. The last
nicate. Speaking was not permitted. The second part was a col-
part was another walk in the opposite direction of the first one -
lective action, still silent, aimed to wipe the snow out from a big
but speaking was allowed. In this, different thinkings arose about
rock in the middle of our path. The ambient sound was so free it
the value we attribute to stopping and thinking, about the mean-
bounced off the rock. Performers were allowed to build their own
ing of life, either in a superficial way or not.
IN THE RESIDENCY March 2013
“Is this important?”
CHRISTIANA MYERS
Canada
clmyers4@gmail.com // christianamyers.tumblr.com // Currently working and living in Montreal, Canada Christiana Myers is an emerging artist and curator interested
interpersonal relationships and the way in which space can affect
in exploring the things people do, the things they don’t do,
communication and it’s breakdown. She holds a BFA from Mount
connections, disconnections, comforts, discomforts, nostalgia
Allison University.
and regret. Her recent work focuses on the dynamics of
WHAT ARE YOU TIRED OF SAYING? WHAT ARE YOU TIRED OF HEARING? While at Arteles I focused on absorbing my experience in Fin-
they were tied of saying and something they were tired hearing,
land through experimenting with methods of documentation.
first in Finnish and then in English. I was interested in observing
Among these I made an animation, small installations, and jour-
the filtration of these statements into the second language of
nals. My favourite though, was a project that included the locals
the speaker/listener, referencing the subjectivity of conversation.
of HämeenkyrÜ. I used the opportunity of sitting in on an eng-
What people chose to write not only reflects the tensions in their
lish language class to gain some insight into the communication
relationships but in some cases the culture of life in Finland.
habits of Finnish people. I asked them to write down something
IN THE RESIDENCY March 2013
MAARTEN BOEKWEIT
The Netherlands
maartenboekweit@gmail.com // www.maartenboekweit.nl // Currently working and living in Hague, The Netherlands Failure, uncertainty and clumsiness are central themes in my
colleague very inconspicuously tried to pour herself a cup of tea,
work. Both in form and content I like to keep my projects simple
but then the lid fell into her cup. At that moment the tense faces
and light.
brightened and everyone had a laugh.I really think the power of
To give a description of my ambition as an artist Iâ&#x20AC;&#x2122;ll use the exam-
an accident is easily underestimated. Unforeseen situations can
ple of a situation I have experienced in my side job as a feeding
change the atmosphere so that one will think differently and sud-
assistent at a hospital.I sat there in a serious staff meeting. My
denly be able to deal with each other in a more relaxed way.
colleagues tried in a spasmodic way to express their views to the
This fall Maarten Boekweit will be a graduate student at Gold-
team leaders. The main issue was that they felt they really could
smiths University. He recently exhibted in 1646 in The Hague, De
not handle any more tasks on top of their normal work. The team
Hotel Maria Kapel in Hoorn, Heden inThe Hague and the Salone
leaders tried to explain to the staff why they had to. At one point, a
the Mobile in Milaan and Greenboro North Carolina.
THE TRASHCAN In Arteles I discovered the pleasure of dancing. For me a new form
I just started working as a garbage man. The picture in the cata-
of expressing myself artistically. With the group we developed
logue is a tutorial about the movements. Later I got the idea to
a dance that we performed in the k-supermarket in Hämeen-
teach the dance to the Finnish people on the street but the month
kyrĂś. During the development of the choreography I got asked
of my residency was already over. So now I am teaching the dance
about the movements I make during my new side job at home.
to the people in The Hague in the Netherlands.
IN THE RESIDENCY March 2013
Sydney Southam is a Canadian multi-disciplinary artist working in video, film,photography, painting and performance. â&#x20AC;?
SYDNEY SOUTHAM
Canada
ssoutham@gmail.com // www.sydneysoutham.com // Currently working and living in Vancouver, Canada I am a multi-disciplinary artist working in film, video, photogra-
subjective, postmodern and visceral yet personal. I graduated
phy, painting and performance. My practice engages extensively
from Central Saint Martins in 2011 with a BA Fine Art. I also holds
with the archive, addressing themes of memory, death, nostal-
a previous combined BA degree in English, Philosophy and Cin-
gia, loss and childhood. I often edit archival film footage of events
ema Studies from University of Toronto.
I was not actually present for to create post-memories that are
ONE SECOND POSTCARDS FROM A GHOST/LUMI CREW While at Arteles, I focused on two projects. I began the month
dance practice, developed alter egos, and eventually performed a
working on an experimental documentary I call â&#x20AC;&#x153;Postcards from
K-Supermarket to a bewildered crowd. These two projects over-
a Ghostâ&#x20AC;?. My goal was to make a film about the transient nature
lapped, and the story of Lumi Crew and our alter-egos became
of being on a residency, and what the life of an artist looks like. I
intertwined with the narrative of the documentary I was working
interviewed all the other artists at Arteles, and filmed every day
on. For me, Arteles was magical, and will always hold a special
life. The second project I worked on was the collaborative, experi-
place in my heart.
mental performance art group Lumi Crew. Every day we met for
IN THE RESIDENCY March 2013
JACQUELINE HEN
Germany
jacqueline.f.hen@gmail.com // janeh.de // Currently working and living in Berlin, Germany Studying Visual Communication with a focus on Environmental /
moment of encounter to the last moment of interaction. We span
Experience Design at the University of the Arts in Berlin.
the creative environment beteween spatial, object and emotional
â&#x20AC;?Environmental Design is a humancentered discipline that is
communicationâ&#x20AC;? (Art Center Collage of Design).
focused on the design of a users total experience...from the first
ONE SECOND I started to record one second of my life each day and edditing it
of the memories of that day. I will try to continue this throughout
together in order to record my life but also to reevaluate how I
my life. 1 year fits in 6 min of film. 10 years in 1 hour.
approaches each day. One second is enough to bring back the rest
IN THE RESIDENCY March 2013
LUMICREW
â&#x20AC;&#x153;Lumi for lifeâ&#x20AC;? International
thelumicrew@gmail.com // lumicrew.tumblr.com Lumi Crew is a collaborative art project that aims to explore per-
are Vanessa Vaughan, Sydney Southam, Amber Doe, Jacqueline
sonal mythologies and social interactions. The artists involved
Hen, Christiana Myers, Maarten Boekweit, and Alberto Venturini.
LUMICREW GOES K-SUPERMARKET During our stay at Arteles, all march residents joined together for
Drawing upon their diverse influences as international artists,
a HipHop crew, made alter egos for each member and performed
this will be a 5 minute Hip-Hop dance unlike any other. Expect to
our dance at the local supermarket.
be surprised and amazed.
â&#x20AC;&#x153;Arteles Art Residency presents the inaugural performance from
This ground-breaking performance is 100% free.â&#x20AC;?
world-renowned dance troupe the Lumi Crew. After many weeks of preparation, these skilled and multi-talented performers will be converging at the K-Market at 4 pm on Thursday, March 28 for their European debut.
IN THE RESIDENCY February/March 2013
VANESSA VAUGHAN
Canada
vvaughan.artist@gmail.com // www.vvaughan.com // Currently working and living in MontrĂŠal, Canada I direct large-scale installations that include sculpture, stop-
on multiple timelines through various media. I like to interact
animation, sound and drawings. I like making objects and I work
socially and take bits and pieces of moments and build on them
in several mediums at once. I am interested in myths and the
as a narrative base. These moments might be awkward, funny or
fantastical. I tell stories in my work using symbols revealing and
painful. This usually happens intuitively without any plan.
hiding a contrived morality. I also play with time, exploring stories
I AM SORRY AND THE DEATH PROJECT I worked on several projects while at Arteles, some collaborative
I also wanted to use the uniqueness and calmness of our natural
and some individual.
After experimenting with many stop
surroundings and was inspired by another resident to make fake
motion loops in the studio I noticed I was apologizing often out of
blood and venture outside. I took many stills of me dying in the
politeness and otherwise and decided to make a piece about it.
snow. These are being transformed into some animated gifs.
IN THE RESIDENCY February/March 2013
“Art always happens in between.”
“Done again.” LILIAN BEIDLER
Switzerland
loul@gmx.ch // www.loul.ch // Currently working and living in Switzerland Sound being a fundamental component of my work, I range from
and marginal crossovers between reality and fiction, between
installation, performance and acousmatic composition. I am
analogue and electronic sound, between original and dublicate,
interested in the relation between sound and body and object
between perceptible and suspected.
as mobile parameters in a particular space. Functional objects
The used medium concerns me as a representation of differ-
like machines or devices with modified uses often serve as basic
ent cut surfaces, as an agile cone of light, which can illuminate
materials for my artistic interventions.
into different directions, and its influence on my compositions. I
My artistic work often focuses on the in-between: I am looking for
choose a certain medium to try to change the perception of preex-
a vector between sound and language and image, between instal-
isting denominations by highlighting the fragileness of the inter-
lation and performance and space, I range between abstraction
mediate and the filigree of the peripheric.
and narration andconcreteness. I get crazy about abutments
And I like to dance.
(WORKING TITEL) I did a little shake in the woods.
I sang.
I composed a reed organ piece.
I cried. I dreamt.
IN THE RESIDENCY February 2013
BENTEN CLAY
Germany
goodnews@bentenclay.com // bentenclay.com // Currently working and living in Berlin, Germany BENTEN CLAY is a global corporation with a cross-disciplinary
lyzed, assessing the limitation of natural resources, their imple-
approach. The focus lies on the production of a long-term project
mentations, as well as mechanisms of power and volatility inher-
titled Age of an End in which the appearance of the now is ana-
ent to the human pursuit of control.
NEXT STEPS TOWARDS GLOBAL LEADERSHIP. This year’s visit to Arteles had 3 main objectives:
Research & Development: The R&D department, the largest division of our company,
Administration:
continued working on their studies and findings about
We visited our Finnish partners to negociate further project
nuclear waste repositories.
plans, held informal meetings with new business contacts
Leisure:
and initiated due diligence investigations for possible M&A.
We follow the principle ”mens sana in corpore sano” in our
Internally we developed the annual target agreement for 2013.
corporate governance codex.”
IN THE RESIDENCY February 2013
PILAR MATA DUPONT
Australia
info@pilarmatadupont.com // www.pilarmatadupont.com // Currently working and living in Perth, Australia Pilar Mata Dupont is a multidisciplinary artist working mainly in
In 2010 she won the prestigious $100,000 Basil Sellers Art Prize
photography and film. She has exhibited collaborative and solo
with Tarryn Gill for their film ‘Gymnasium’.
work at galleries such as Centre Pompidou, Paris; The Akademie
Her work engages with, or subverts, tropes used in storytelling
der Künste, Berlin; Museum of Contemporary Art, Sydney; Gallery
through the re-imagination of collected memories/histories and
of Modern Art, Brisbane; on Cockatoo Island for the 17th Biennale
mythologies, and investigates into the genre of magic realism as
of Sydney and in festivals like Art Basel, Miami; The Berwick Film
a device to explore the effects of colonialism, nationalism, and
and Media Arts Festival, UK; and the CineB Film Festival, Chile.
militarised societies.
KAIHO III During my month at Arteles I completed the last of my ‘Kaiho’
‘Kaiho III’ delves into the newer mythology of Finland by playfully
trilogy, which I began at my first residency at Arteles, in June
examining nostalgic and nationalistic views on war and sport. The
2011. The ‘Kaiho’ series is a video based triptych relating to the
idea stemmed from an interview with theatre director, Kristian
concept of the ‘kaiho’ (Finland’s version of saudade or longing
Smeds, about his 2009 stage version of ‘Tuntematon Sotilas’
for something unobtainable). The series was created by melding
where he mentions that to get a Finn passionate one just needs to
collected memories from Finnish people with aspects of Finnish
bring up the Winter War or the 1995 ice hockey championship win
mythology, including the Kalevala; Finnish tango; and itkuvirsi
over Sweden. Important battles of the Winter War, where Finland
(Karelian lament singing). The works also investigate newer
fought the invading Soviet Army from November 1939 until March
uses of Finnish mythologies, such as their application to promote
1940, were broken down into basic actions, and developed into ice
nationalist sentiment by right-wing populist parties, such as the
hockey plays for a one-on-one game.
True Finns.
IN THE RESIDENCY February 2013
ART HOME DELIVERY SERVICE ART ON DEMAND Lilian Beidler Switzerland / Pilar Mata Dupont Australia / Vera Hofmann Germany / Brenna Noonan USA / Sabine Schründer Germany / Vanessa Vaughan Canada info@a-o-d.org // a-o-d.org // Currently operating internationally ART ON DEMAND (AOD) is a collaborative participatory project.
AOD is interested in creating an international network of artists
Its primary aim is to make art accessible by taking it out of the
that will perform, interact and write about accessibility, value,
expected exhibition spaces and bringing it to targeted private
economics and intimacy.
spaces, creating tailor-made works that are intimate, useful and
AOD was founded at Arteles Creative Center, Finland in February
immersive.
2013.
There are two keystones to AOD: 1. The AOD Actions – performed by AOD member artists as well as satellite artists. “Exploring by doing”. 2. AOD Reflections – A theoretical component consisting of reviews, essays, and articles written by AOD members and contributors.
ACTION 1, HÄMEENKYRÖ, FINLAND ” The inaugural action was performed by the founding members
paper to advertise this one-day event. Customers could order in
of AOD in February 2013 and consisted of a Delivery Menu
advance or on the actual day. The AOD team allotted 30 to 45
offering a variety of site-specific artistic experiences and/or
min per order and donned themselves in red to mark themselves
tangible custom-made items. The menu was distributed around
as a team. Six deliveries were made that day over a spread out,
the community prior and an article was published in the local
remote community.
IN THE RESIDENCY January 2013
“Visual Culture Documentarian”
CATHERINE J HOWARD USA 131313sketchbookproject@gmail.com // 131313sketchbookproject.com // Currently working and living in Durham, NC, USA Artists are doing remarkable and inspiring things all over the
world and give them the resources to make their community-
world, and the lessons they have learned along the way can help
empowering
all of us in our own endeavors. The 13/13/13 Sketchbook Project
Follow along at http://131313sketchbookproject.com.
is a journey to live with 13 collectives of artists across the globe
About Catherine J Howard:
that use art to revitalize their communities — and then transmit
my life from an office to a shoulder bag, from binders and
their techniques for creating influential creative projects.
spreadsheets to journals and colored pencils.
After this year of research, the 13/13/13 Sketchbook Project
nomadic life, I was an exhibiting artist, teacher, curator, and
will culminate in a holistic system – digital and physical – that
arts administrator in Raleigh-Durham, North Carolina in the
will connect artists and social activist groups all over the
USA.
projects
more
impactful
and
sustainable.
In just 13 months, I shifted In my pre-
Check out previous projects at catherinejhoward.com.
13/13/13 SKETCHBOOK PROJECT -- TAMPERE/HÄMEENKYRÖ, FINLAND Cresting below the cloud line in the airplane, I was welcomed to
give my life gladly for what I believe.’ It stands for a philosophy
Finland by glimmering streetlights and groves of trees checker-
that what must be done will be done, and it is no use to count the
ing the snowy ground. The hype was founded — Finland is beauti-
cost.” (p. 10 “Of Finnish Ways” by Aini Rajanen)
ful in the winter.
This watchfulness and dedication to what “must be done” has
The glimmers of this project began sparking in March 2012, when
evolved into an egalitarian social structure that is lauded around
I arrived in Cape Town, South Africa to work with a collective of
the world. And why research the arts here? Well, Finland has a
street artists to spread the message that public creative expres-
very notable statistic: no country in the world spends more per
sion can spark social change. The street artist friends I made
capita on the arts.
there are dedicated to spreading color, pride, and compassion,
Artists hold the keys to humanist, interdisciplinary thinking. Art-
and our adventures together cemented for me how deeply cre-
ists around the world are changing their communities on shoe-
ative individuals can impact their communities. I was hooked; the
string budgets. Yet, here are the Finns who have recognized the
13/13/13 Sketchbook Project was sparked by an irresistible urge
power that artists have to enact social change and have been fun-
to find insights from artists across the globe who use visual art to
neling funds to further this creative potential. This support begs
challenge and revitalize their communities.
the question: How do Finnish artists use this financial support to
So why visit Finland to talk to artists during frigid, snowy Janu-
create artwork that engages the rest of the Finnish community?
ary? Well, Finland’s environment has engendered a culture of
Although I reached no definitive conclusions to that question, Fin-
hardy fortitude and generosity. The weather and geographic iso-
land’s lessons on stillness have seeped into my spirit and altered
lation require that Finns stay in-tune with nature while relying
how I interact with the world. The utter silence of the snow at night
heavily on their neighbors. (If you fall through a frozen lake or hit
creates a delicate veneer of glass that crystallizes the entirely
a reindeer with a car, someone had better be looking out for you.)
world and enables you to be entirely present. The most powerful
The Finnish culture and language have also steadfastly survived
emotions happen when the outside world is perfectly calm, and
centuries of Swedish and Russian reigns through the reliance on
you are alone. And that is a lesson that should be passed on to
the philosophy of “sisu.” “Sisu refers not to the courage of opti-
everyone.
mism, but to a concept of life that says, ‘I may not win, but I will
IN THE RESIDENCY January 2013
“Great works are performed not by strength, but by perseverance”
JOANNE DRAYTON
New Zealand
jdrayton@unitec.ac.nz // joannedrayton.weebly.com // Currently working and living in Auckland, New Zealand Joanne Drayton is a writer, artist and academic. Her book The
and D. K. Richmond, and publishes in art and design history, the-
Search for Anne Perry (2012), has just been released in Austral-
ory and biography. Her research interests include New Zealand
asia and Canada. Her critically acclaimed Ngaio Marsh: Her Life
art and design history; colonial art and diaspora; the modernist
in Crime (2008) was a Christmas pick of the Independent when it
expatriate artist; netsuke and bone and ivory carving. She is cur-
was released in the United Kingdom in 2009. Other biographies
rently working on a new biographical project and carving a post-
by Joanne Drayton include Frances Hodgkins: A Private Viewing
colonial chess set in response to the Lewis pieces in the British
(2005); Rhona Haszard: An Experimental Expatriate New Zealand
Museum. Joanne Drayton is Associate Professor in the Depart-
Artist (2002); and Edith Collier: Her Life and Work, 1885–1964
ment of Design at UNITEC in Auckland.
(1999). She has curated exhibitions of Collier, Haszard, Hodgkins,
ACROSS THE BOARD: A POST-COLONIAL CHESS SET “Across the Board” is a semi-autobiographical project inspired
firsthand community of my ancestors were things I recognised
by the urge to bring carved representations of my ancestors and
and they inspired me. The project evolved to become something
my partner’s ancestors to a chessboard, which is a metaphor for
more post-colonial in conception with the inclusion of my part-
the post-colonial relationship in New Zealand between Maori and
ner’s ancestry, which is Maori.
Pakeha. The outcome will be a chess set and a non-fiction narra-
In 2009, I began to carve my response to the Lewis pieces, discov-
tive driven, not just by historical and theoretical research, but by
ering as I went the importance of research by ‘making’ or ‘prac-
the practice based investigations of a twenty-first-century carving
tice’, and the concept that engagement with objects and their
studio. Susan Stewart’s book On Longing (1993) provided me with
materiality unfolds layers of information that provokes questions
some thought provoking ideas around the notions of nostalgia
about meaning, intention, and process that may not necessarily
and the souvenir, which gave me the beginning of a theoretical
occur within a conventional methodology.
context for my work.
The project I set myself on my Arteles Residency in Finland, was
My origins are Scandinavian, so nostalgia, a sense of longing, a
to complete one side of my set by carving the knights.
desire to participate even vicariously in the family, the village, the
IN THE RESIDENCY January 2013
EDWARD SANDERS
UK
edwardpsanders@gmail.com // www.edwardsanders.info // Currently working and living in United Kingdom Howard hung up the telephone. He went into the kitchen and
tub and closed his eyes when the telephone rang again. He hauled
poured himself some whiskey. He called the hospital. But the
himself out, grabbed a towel, and hurried through the house,
child’s condition remained the same; he was still sleeping and
saying, “Stupid, stupid,” for having left the hospital. But when he
nothing had changed there. While water poured into the tub, How-
picked up the receiver and shouted, “Hello!” there was no sound
ard lathered his face and shaved. He’d just stretched out in the
at the other end of the line. Then the caller hung up.
1ST JANUARY 2013 Acrylic on unstretched canvas. 2x1.5m
IN THE RESIDENCY November 2012
PATRICK LOAN
UK
patrickloan@yahoo.co.uk // Currently working and living in Vienna, Austria Patrick Loanâ&#x20AC;&#x2122;s practice focuses on the spatial environment of
Loan has a developing interest in how the viewer relates to an
sports stadia and the identity and celebrity of sports stars. In
image or performance in an architectural space or in natural
his performance-based work he takes on the identity of sports
surroundings, and how that space can be activated by the use of
stars using low-tech materials to make masks and props. He also
simple low-tech means.
works with video, photography, drawing and printmaking. His
Patrick Loan has exhibited in the UK, Europe and the USA.
fascination with sport leads him to explore identity, place and architecture.
Mäkihyppääjä: Matti Nykänen (Ski jumper: Matti Nykänen) My original idea was to come to Haukijärvi and travel to the
The first ‘Podium / Palkintojenjakokoroke (1983)’ performance
nearby areas of Hämeenkyro and Tampere in order to undertake
took place at night during which the sound of a cheering and
research into the sporting culture of Finland, and in particular
applauding crowd reverberated through the forest from loud-
to examine the career and fame of Matti Nykänen, a Finnish ski
speakers as each ski jumper in turn got onto the podium and
jumper whom I remember watching on TV as a teenager in the
held his pose. As the applause reached its crescendo a theatre
1984 and 1988 Olympic Games.
spotlight was directed onto each athlete; as he stepped off the podium, the sound was lowered and the light turned off.
‘Podium / Palkintojenjakokoroke (1983)’ The podium evolved from simply being a prop for a performance Whilst researching the career of Matti Nykänen, who was at his
and became a discordant sculptural object in the woodland
athletic peak in the mid to late 1980s, I found a photograph of him
landscape.
as a young man in 1983 winning a ski jumping competition in a book in the reserve collection of Tampere library. Using this photograph as a reference point, I built a wooden podium using the same colour and font as the original one. This was used as a prop in a series of performances where I took on the identity of each of the three ski jumpers in the photograph using masks of their faces and cut-out cardboard trophies and recreated their poses on the podium.
IN THE RESIDENCY November 2012
OFRI LAPID
Israel
info@ofrilapid.com // www.ofrilapid.com // Currently working and living in Berlin, Germany This project is a part of a series, which take place in rural villages
making of the installation. In this manner the local people become
worldwide (Bulgaria, India, Peru, Finland), and aim to explore
simultaneously both viewers and participators in the construction
societyâ&#x20AC;&#x2122;s perception of its local history and material heritage.
of their own displays, thus creating an alternative ethnographic
The projects are often a result of a process, in which I involve
representation, which exposes both the social context of the mak-
myself in the lives of people, and invite them to contribute to the
ing of a collection and the relations between people and objects.
TO WHOM DOES THE LAMP COMMUNICATE ITSELF THE MOUNTAIN? THE FOX? Spending November, the darkest month of the year (The days are
tion of light in the domestic environment, as for its function in the
not the shortest but there is no snow to reflect the sunlight) by the
display.
rural community of Hämeenkyrö, led me to investigate the ways
The local families admitted that conducting light plays a crucial
people illuminate their domestic environment and thereby study
role in hospitality, but also serves an instrument in spying on
the social aspects of light.
neighbors. In order to further investigate the social aspect of light
In order to gain a better understanding of the local culture of hos-
I invited the residents for a visit in the open studios. I asked the
pitality and the construction of indoor “”lightscapes””, I initiated
guests to bring along a lamp they chose from their home. One
contacts with residents and got invitations to visit private homes.
by one lamps began to light up the exhibition space. Later on in
On each visit I measured light intensity, light-temperature, the
that evening guests spontaneously began to tell stories about the
distance between lamps, as well as the direction of the cast shad-
lamps and the meanings they held for them, bringing up memo-
ows. I presented the information I collected as an installation
ries of family members, religious and local traditions. The situa-
consisting of a table, lamps, photographs and information sheets.
tion resembled a social gathering around the campfire, encour-
The display of data was intended to draw attention to the func-
aging people to verbalize their emotions.
IN THE RESIDENCY November 2012
“At the center of my work is an examination of the location and circulation of power and information.”
JENNIFER PICKERING
USA
jenpickering@gmail.com // www.jenpickering.com // Currently working and living in Okanagan Valley, British Columbia My practice presents a consideration of objects and institutions
I am currently developing the Mars / Moon Project, which uses
as crucial nodes in the circulation of knowledge. I have used
an urban legend as a basis for the exploration of a complex set
books and libraries to create a reference for the viewers’ reflec-
of relationships where society, science and knowledge intersect.
tion of their own placement within this circulation. Subsequently,
In this story Mars is said to be approaching the Earth so close
I worked with suitcases to reference travel and examine the pos-
that it will appear at the same size as the Moon in the night sky.
sibilities and limitations of the embodied movement of people and
This narrative is unique among urban legends because it does not
information.
consider events in urban space. Rather, it attempts to understand
The formal qualities of objects, particularly material, colour and
the approach of something remote – Mars, which has a long his-
light are fundamentally important to me. Minimalism, through its
tory of anchoring the futuristic imagination.
attention to method and material has influenced my work. With
The Mars / Moon Project project has been developed in collabora-
minimalism I share an engagement with social critique. Yet unlike
tion with Art Historian Jasmina Karabeg, who in her scholarship,
sculpture of the 1960’s and 70’s, I specifically focus on the exami-
focuses on the notion of the future as a crucial determining factor
nation of historical processes and recollection.
that shapes today.
MARS CAFÉ The Mars Café is a social intervention, where participants take an
The video includes images from the room, satellite imagery and
active role in the imagination of the future. The Café is planned as
the textures and colours of the rocks that form local geology.
an ongoing international discussion forum that explores a diversi-
Participants were invited to discuss ideas, which will impact our
ty of perspectives about our collective futures. As an artistic proj-
collective futures. Among environmental and political topics, we
ect the discussions take place within a site-specific media work
also spoke about the changing ways of social life. While talking
that references our connections to each other and to something
about some failed experiments in communal living we chatted
larger – the planet Mars.
about how as residents we benefited from sharing and cooking
At Arteles, the Mars Café was held in the “Mars lounge”. I trans-
as a group. I for instance, leaned how to bake Korvapuustit and
formed this everyday space to suggest a future movement by pro-
Karjalanpiirakka, two traditional Finnish dishes. While the Kor-
jecting a video onto the coffee table. The video figures the pos-
vapuustit with it’s double spiral suggests movement, I couldn’t
sibility of a trip starting as a circular cut through the coffee table.
help but imagine us all aboard a Karjalanpiirakka shaped vessel
Then it reaches down to the centre of the earth, emerges on the
hurtling across time and space.
other side and shoots up through space to the surface of Mars.
IN THE RESIDENCY November 2012
ANNABELLE CRAVEN-JONES
UK
annabellecraven-jones@live.co.uk // www.annabellecraven-jones.co.uk // Currently working and living in UK PURE GREY LATITUDE SYNDROME (NORDIC) Screensaver with audio 2 mins 40 loop, laptop, chair, table, headphones LOW CLOUD S.A.D. (PRISMATIC LIGHT THERAPY) 3 photographic filters, 9 magnets, A4 graph paper, lamp, table ANTIDOTE (TRIANGULAR PRISM) Marker pen on 80gsm paper, 210 x 297 mm
PROPOSAL FOR LIGHT THERAPY (PILVI) 2012 SOMEWHERE THERE IS THE SOUND OF SOMEONE THINKING IN A WOOD (GREY NOISE INVERSE) Video with sound 1 min 27 loop, laptop, chair, table AFFECTIVE AUTO STREAM (LIVE CONSCIOUSNESS) Location: Finland. 100m Ethernet cable, live webstream, laptop, dimensions variable Diagram for AFFECTIVE AUTO STREAM (LIVE CONSCIOUSNESS) 9 prints on 80gsm paper, 210 x 297 mm
IN THE RESIDENCY November 2012
CAMILLA EMSON
UK
info@camillaemson.com // www.camillaemson.com // Currently working and living in London, UK My work begins with words. I’m interested in how words never
inside the body. Acting upon a more essential kind of repair, while
have just one meaning; how these multiple possibilities affect
making the invisible visible.
how humans can make choices, make change, speak truth to
The multi-disciplinary nature of my practice constantly re-defines
power. How power uses language to de ”In my practice I use my
form, process and transformation.” fine truth. To define power. I
body with materials to intuitively channel kinds of repair.
hope to open up space with my work for readers/viewers to begin
My experimentation with materials has involved wrapping objects,
to think about how one reads, how the way each one of us thinks
sewing canvases, firing cracked glass and drawing through con-
or reads is very much what makes language become sense or
tact dance. My work is abstract yet often acutely conveys the
nonsense.
sensations of physicality. I try to crudely confront the nature of
I’m the author of a chapbook, Memory of My Mouth, available
stability.
from dancing girl press. In addition to my work at Arteles, I’ve
My sewn works convey a fragile and feminine sensitivity, while the
been fortunate enough to receive grants and fellowships from the
glass works withhold despite appearing ephemeral and unstable.
Oregon Arts Council, the Vermont Studio Center and the Universi-
More vitally, my CI drawn work investigates a kinaesthetic poten-
ty of Virginia, where I was a Henry Hoyns Fellow. Other of my work
tial. I explore how the development of contact and improvised
can be found in places like Ancora Imparo, Coldfront, Poecology,
movement can harness an excavation of stored memory from
High Desert Journal and my online workspace.
MARKING THE INVISIBLE (WITH ASH) My most recent Live Art piece Marking the Invisible uses CI with
showed signs of increased consciousness. In part, the drawings
powdered graphite on paper to mark the development of kin-
are simply documentation but they also help me visualize and
aesthetic potential. At Arteles, I decided to exchange my use of
conceptualize exchanges between different materials and the
graphite with ash collected from the outdoor sauna. I am inter-
body.
ested in exploring how materials and the body can be understood
I also used my time at Arteles to explore the process of making
as a continuum. The ash was the equivalent of a trace, a residue
felt using locally farmed wool.
of released memory through CI, and the human body, over time,
IN THE RESIDENCY November 2012
MICHELLE DICINOSKI
Australia
m.dicinoski@gmail.com // michelledicinoski.com/ // Currently working and living in Australia Michelle Dicinoski writes poetry and non-fiction. Her poetry col-
by Black Inc. in 2013. The final corrections to this manuscript
lection Electricity for Beginners was published in 2011. Her mem-
were made at Arteles in 2012.
oir Ghost Wife: A Memoir of Love and Defiance will be published
They reckon it a fake asylum a suspect body. We risk anything but you do not see. A body when inhaled leaves no trace.
While at Arteles, I worked on a few projects. The most surprising
sections of pages would also juxtapose text in interesting and
(to me) was a short series of “found” poems made by altering a
unpredictable ways. Most of the poems can work separately or
secondhand novel. I bought a copy of Agatha Christie’s The Big
together, and can be read in a range of ways, depending on the
Four from a local flea market and made several poems by black-
reader’s approach. The cut-up book was displayed at LA Kirppa-
ing out and/or cutting up some of the pages. I initially planned
ritaidemessut as part of a group Art Fair but (accidentally) never
only to make blackout poems, but soon realised that cutting out
returned. Its current location is a mystery.
IN THE RESIDENCY November 2012
TAMĂ S SZVET
Hungary
kszvet@yahoo.com // szvet.blogspot.com // Currently working and living in Budapest, Hungary I have a multi-layered artistic interest. I am enthusiastic with the
Objects and installation I made are rather experimental, but at
opportunities offered by the latest technological inventions. I use
the same time also conceptual. I always start with a conceptual
these innovations socio-critically, and in an experimental way
question and look for solutions that try to give an answer to art
as well.
theory questions through the applied techniques. Lengthy art his-
The convergence of science and art is a central focus in my work.
torical and scientific researches precede the creating activity, so
I play with technological invention in order to convey my fasci-
the researches become a basic act in my work.
nation with fields of energy and our place in the world, through levitation, illusion, reality and non- reality and where the thin veil between these lie.
PLACEBO HISTORY My installation is focusing on historical gaps. I have projected
Hungarians came from the planet called Sirius, before its sun
images and stars using an astro planetarium projector, while the
exploded. Cristal heated Spaceships transfer them throw the uni-
story was told.:
verse, when they reach the planet called Earth. They were a great
â&#x20AC;&#x153;Origin of the Hungarians is unknown. Being uncertain in the past
nation, with rich pastures and huge area. They were the emperor
creates unconfident feelings in the present, and people looks
of Europe. Powerful and independent, talented and clever, beauty
back, instead of ahead. When the past is blurry and history has
like the sun, and strong like the paprika.
gaps, we might believe to other theories.
If you look closely and deeply in their eyes, you can still see far
Where comes the Hungarians?
away galaxies shine!â&#x20AC;?
How they colonise and why they migrated? 9 million 999 thousand people cannot live without past! Maybe the craziest theory could be enough to fulfil the emptiness, so people could focus to the future and not the past any more. ...
IN THE RESIDENCY October 2012
“Stories, stories, stories..”
MARIE LOUISE COOKSON
UK
marie.l.cookson@gmail.com // www.wellfanmybrow.blogspot.com // Currently working and living in Manchester, UK A writer and performer based in Manchester, UK, I have written
Dorothy Parker and John Kennedy Toole, I update my blog weekly,
and performed a number of short stories, monologues, and film,
writing short, often satirical, stories under the guise of ‘Mitzy,’ as
radio and stage scripts. These have included my short play: ‘Get
the character chronicles the outlandish tales of North West life.
The Confidence, Get The Love’ as part of Manchester Contact
Earlier this year, I performed a selection of blog extracts at The
Theatre’s selection of new writing; and a 10 minute film, ‘Blood-
Manchester Independent Book Market, a free event held annually
less Offering In B Minor’ in collaboration with Nexus Art Cafe and
to promote both small presses and local writers. One of my piec-
Manchester based filmmaker Graeme Cole.
es entitled, ‘Is This Your Life’ was included in an eBook (available
With a particular passion for comedy, both in literature and in per-
to download at Amazon) called, ‘The Hat You wear’ which featured
formance, two years ago, I set up a fictitious humour blog called
works by other prose writers and poets who also appeared at the
Well Fan My Brow And Shut My Mouth. Inspired by a combina-
festival.
tion of Laurel and Hardy films, and the works of PG Wodehouse,
My two passions are literature and performance and during my stay, I focused on writing two short stories, ‘The Silence And The Speech’ and ‘Sleep Scars’ and creating a comedic performance piece specifically about my time at Arteles. ‘The Silence And The Speech’ is a story exploring the concepts
After his first good night’s sleep, however, he begins to experi-
of silence and speech. In anthropomorphising these, I set out to
ence serious side effects; namely, discovering scars on his body
create a playful and humorous tale about what would happen if
bearing traces of the donor’s fatal wounds. Levy is then left with
‘The Silence’ swapped places with ‘The Speech.’ This story grew
a choice: to have the sleep reversed and revert back to his old
out of an early conversation at Arteles about the fact that Finnish
insomniac existence or to bleed to death. I am often inspired by
people are very comfortable with silence. I thought it would be
the notion of sleep and sleeping in an unfamiliar place inspired
fun to explore what may happen if ‘Ms. Speech’ could interchange
my idea for this story.
with ‘Ms. Silence.’
Finally, ‘Good Evening, Arteles’ was a comedic performance piece
‘Sleep Scars’ is set in an unspecified place and time in the future
intended to be a sort of spoof newscast about life at Arteles. I
where people are able to donate their healthy sleep after they
loved writing this and performing it both to fellow residents and
have died. ‘Levy’ is a heavily sleep-deprived man who is given the
Arteles staff. Since it was also filmed, I hope that future residents
opportunity to receive a sleep donation in exchange for money.
will enjoy watching it, too.
IN THE RESIDENCY October 2012
ÜLGEN SEMERCI
Turkey
ulgen.semerci@gmail.com // www.ulgensemerci.com // Currently working and living in Istanbul, Turkey Ülgen Semerci was born and raised in Istanbul, Turkey. She
sity, Montréal QC, and her MFA in painting from New York Studio
received her BFA in painting and drawing from Concordia Univer-
School. Currently Semerci lives and works in Istanbul.
The purpose behind my time in Arteles was establishing dialogue with artists from different backgrounds and disciplines, getting out of my comfort zone and pushing boundaries of my practice. During my stay, not only Finnish landscape became a significant
I collected material, drew, took photographs, made prints and
element in my process, but also I had the opportunity to engage
brought them together in a process of collaging, taking apart,
with other artists in potential collaborations.
then bringing together again. The work I did in Arteles is the opening of a new body of work which Iâ&#x20AC;&#x2122;m eager to explore. â&#x20AC;&#x153;
IN THE RESIDENCY October 2012
“How power uses language to define truth.”
ZAYNE TURNER
USA
zayneturner@gmail.com // www.zayne.posterous.com // Currently working and living in USA My work begins with words. I’m interested in how words never
I’m the author of a chapbook, Memory of My Mouth, available
have just one meaning; how these multiple possibilities affect
from dancing girl press. In addition to my work at Arteles, I’ve
how humans can make choices, make change, speak truth to
been fortunate enough to receive grants and fellowships from the
power. How power uses language to define truth. To define pow-
Oregon Arts Council, the Vermont Studio Center and the Universi-
er. I hope to open up space with my work for readers/viewers to
ty of Virginia, where I was a Henry Hoyns Fellow. Other of my work
begin to think about how one reads, how the way each one of us
can be found in places like Ancora Imparo, Coldfront, Poecology,
thinks or reads is very much what makes language become sense
High Desert Journal and my online workspace.
or nonsense.
TRUTH OR CONSEQUENCES & OTHER POEMS Visual and Concrete poems, which began a series titled “Truth
titled “Her Radioactive Materials,” which may become the center
or Consequences.” I also completed revisions of my first book
of a second book.
manuscript, some lyric essays, and began a long poem-in-series,
IN THE RESIDENCY September 2012
GRACE NEEDLMAN
USA
gneedlman@gmail.com // www.graceneedlman.com // Currently working and living in London, UK Through drawing and painting, I deal with my experiences of iden-
nities? How do we come to claim certain stories as our own?
tity as a product of conflict and accumulation. How do we develop
Inspired by fairy tales, comic books, nightmares, newspapers and
a sense of self through the traditions, expectations, prejudices,
memory, I aspire to visual, material, associative density in my
and rituals of different cultural, political, geographic commu-
work.
CROWDED/ALONE My time at Arteles was about digesting stored-up ideas and cul-
London riots while researching James Ensorâ&#x20AC;&#x2122;s crowd-scenes, I
tivating new material processes. After an intense year in over-
began developing new ways of making collages, watercolors, and
crowded London, a month in the Finnish wide-open offered time
masks. As much as I appreciated having time in my own head, I
alone to think and read and sketch through ideas about my rela-
love even more the brilliantly critical, supportive dialogues and
tionship to the city and its people. Working from images of the
friendships fostered in the residency.
IN THE RESIDENCY September 2012
“In the spaces between online and offline.”
GRACE KINGSTON
Australia
gracekingston@gmail.com // gracekingston.com // Currently working and living in Sydney, Australia “As densely networked, highly malleable, and ultimately virtual
void, materialising our virtual spaces in an embodied and figura-
spaces, social networking sites elude traditional means of explo-
tive state in order to make “real” the self that exists only in signi-
ration. Grace Kingston’s artistic practice seeks to address this
fied space” - N. Wolf
MOSS WORKS The Arteles residency has been the ideal setting for me to expand
how technology is heavily intertwined with our lives, even in non-
on my practice. After recently completing the long-term project of
urban settings. To do this I reversed the dynamic of street art - a
my MFA in Sydney, I was ready to spend some concentrated time
permanent mark seen by many in the city - to ‘Moss Stencils’,
on pure experimentation. I was inspired by the varied practices of
icons of social networking and technology etched into a rural
the other residents, the huge facilities and the forrest surround-
environment. These marks are transient, and seen by few. Famil-
ing the Creative Centre. I had the time to go in a lot of different
iar symbols and phrases such as ‘Like’ make a playful juxtapo-
directions as well as completing a sustained body of experimen-
sition within a non-built setting, and perhaps remind the viewer
tal pieces with natural materials. Specifically, I aimed to consider
how much of the world around us is mediated by our devices.
IN THE RESIDENCY September 2012
“For me art isn’t about pictures on the wall anymore - it’s about connecting; communicating a message via interaction.” JENNA BURCHELL
South Africa
jennaburchell@gmail.com // www.jennaburchell.com // Currently working and living in Pretoria, South Africa In my artworks I muse over a question; what is changing from the
or displacement of the natural/self/home with the man-made/
natural into the mechanical as we increasingly mediate our life
other/foreign.
experiences through new technologies.
A collaborative approach with varying industry professionals is
Often this is expressed through hand built, mechanical environ-
adopted to achieve the technologically driven functionality and
ments that invoke the organic. This parody of the natural against
aesthetics of the artworks. This forges an interesting inter-disci-
the man-made offers an exploration of the changing relationship
plinary dialogue between art practice and industry.
81° NORTH My current project, 81° North, is inspired by my stay in Finland.
The installation simulates the language of wind as it caresses a
81° North is the amount of latitude degrees Finland is away from
field of grass. This simulation is based on real-time wind data
South Africa. The artwork creates a dialogue of exchange between
transmitted from a sensor in a grass field located by Arteles. This
these two distinctive countries.
data is instantaneously processed through software to generate
81° North is an installation artwork consisting of a mechanical,
a ‘wind language’ that is enacted onto the installation artwork
sculptured field of grass constructed with 1500 blades of copper
instantaneously. 81° North contrasts the foreign wind data with
wire and hand sculpted grass heads. It reflects the rich coppery
the local context in South Africa where it will be exhibited, creat-
gleam of a field of grass in late autumn.
ing a feeling of being transported to someplace that is Other.
IN THE RESIDENCY September 2012
sound and media artist
ROBERTO PUGLIESE
Italy
pugliesr@gmail.com // www.robertopugliese.net // Currently working and living in Helsinki Finland My work consists of compositions, installations and performances
The very nature of the experience of sound is physical and inti-
based on sound in combination with visuals and audience partici-
mately connected with the sense of touch. Audio-tactile explo-
pation. I use sound and its transformation to establish alternative
ration is the first form of sense making of the world since our
relations between audience and the space. By collecting and digi-
birth. The memories connected to it are traces of the early rela-
tally processing found sound and photographic material, I work
tion we established with our environment. While hidden in places
towards a common language among visual and sonic landscapes.
we inhabit and construct with our practices and activities, sound
My work Traffic with Rachel O’Dwyer has been exhibited at the
and touch are unveiled and sharply resonate in unfamiliar places.
Science Gallery (Dublin, 2010) and Eyebeam (NY, 2011) and PuShy
My artistic practice springs from this philosophical standpoint,
at the Plektrum Festival (Tallinn, Estonia, 2011). Recently I have
the phenomenology of the senses of touch and hearing, and
been collaborating with dancers and choreographers for the cre-
moves towards strategies of decoupling, augmenting, subverting
ation of alternative stages and forms of new media performance.
the usual “contact” with those channels. The result is a magnifi-
As a media artist I am interested in the role of sound in shaping
cation of their impact, not just as a force, but also of their impor-
the experience of places and the sense of presence in our daily
tance as mediator of our experience. For this, sound is a cen-
life. Sound can be accommodating, dominating, coordinating,
tral element in my works. They are multimedia pieces where the
ensuring or hunting. All these characteristics pervasively influ-
viewer participates and re-establishes a previously altered, offset
ence our experiences. We participate with our actions in the cre-
relation with the location.
ation of the soundscape, being it natural, mechanical or digital.
FIELDWORK FOR ”THE SPACE OF A YEAR” During the Arteles residency I conducted fieldwork in the form
changing terrains and textures coming from different seasons of
of audio and video recordings that I will use as raw material for
the year and their respective soundscapes to the visitor.
a participatory installation called “”the space of a year””, a mul-
Projections on the walls surround the participant. The images are
tichannel audiovisual installation. I focus on walking as a natural
highly processed videos of nature filmed in different season of
action of exploration and perception of the place where we live.
the year that sequentially change during the course of the day
By placing contact microphones on the floor, people in the space
in a 30-minute cycle. Their minimal, reduced aesthetic conserve
activate with their footsteps an alternative soundscape. Unex-
traces of the places where originally collected.
pected sounds echo and tightly follow the visitor’s exploration of
During the residency I realized the first prototype of the augment-
the augmented space. The visitor witnesses the gradual separa-
ed floor on which people can walk and hear the sound of their
tion or divorce between the processed sound coming from the
footsteps, as if they would be walking on wet grass, or on a dock
speakers and the sound source, their feet in contact with the floor.
or pebbles and other terrains recorded in the surrounding of the
The installation “lives” during the course of a day, presenting
Arteles house.
IN THE RESIDENCY September 2012
EMILIE COLLINS
France
liliecollins@yahoo.co.uk // www.axisweb.org/artist/emiliecollins // Currently working and living in Cardiff, Wales As an artist, my practice mainly takes the form of site specific or
The need to involve myself physically within my work has become
site responsive art. It is deeply connected to people and places
stronger over time and I intend to focus on performance art for
and, as such, my preferred ventures are residencies, which com-
the foreseeable future. My background in Contemporary Textiles
bine those elements together. My work takes the form of projects
has up to now been a major influence on my relationship to mate-
that involve my experience of places, researching relevant themes
rials and the ways in which to use them. Past projects have dealt
and creating work either in situ and/or in response to them. They
with issues relating to nature and the environment, the body, the
have so far taken the form of installations using mainly natural
self, space and the notion of â&#x20AC;&#x2DC;the otherâ&#x20AC;&#x2122;.
materials, recorded rituals or performances engaging the public.
POLKU (The Path) / PUSSAA SUTTA (Kiss The Wolf) / HUKKA PERII (The Wolf Will Take You) My original ideas revolved around engaging with the space of
connotations, dyeing two handmade dresses red and undertak-
the woods surrounding the residency. As such, prior to going to
ing a series of performances as well as experiential happenings
Arteles, I had been researching into the symbolism of the forest,
centered around a wolf skin donated to the Centre during my stay.
folklore, myths and fairytales as well as their importance in the
The three main performances (Polku, Pussaa Sutta, Hukka Perii)
shaping of our psyche.
each had its own specific context, exploring and bringing up a
Whilst in the residency, the project expanded and altered as I
range of themes and issues for the viewer. Whilst Polku could be
explored the area, discovering its contrasts. How I imagined things
seen as a ritual or initiation in the woods -viewers were invited to
to be and how I sensed they actually were, strongly influenced the
follow a path leading to a spot in the woods where I performed-
project as I was confronted by the dichotomies between an appar-
the other two were deliberately absurd and ambivalent, toying
ently natural, yet in reality, very controlled environment and my
with for example: ideas relating to superstition or the visual lan-
own quest for ‘wilderness’ and the ‘wonderful’. I became interest-
guage of protest. I envisage the projects that took place in the
ed in the idea of archetypes and adopted a character with strong
residency as being the starting point for a bigger body of work.
IN THE RESIDENCY September 2012
HOLLIE M. KELLEY
Australia
hollie.maree99@gmail.com // holliemkelley.com // Currently working and living in Australia Notions of transience and the ephemeral in nature inform my
surreal portrait works in watercolour and graphite; and the inter-
work. Finding beauty in repetition, the ornate and delicate, I look
section at which these representational and suggestive practices
to ancient patterns and motifs as themes for re-contextualisa-
meet. Works are becoming increasingly focussed on interpreting
tion. I have a multi-disciplinary approach that includes: delicate
cultural mythologies.
paper-pattern-cutting for large-scale temporary installations;
MATKA Whilst on residence at Arteles I have been inspired by the Finn-
physical flux. These works will form the basis of a duo exhibition
ish flora and mythology , interpreting the forms and folklores into
with collaborator Ryan McGennisken to be held in Berlin late 2012
surreal works on paper incorporated with figures in a state of
titled â&#x20AC;&#x2DC;Matkaâ&#x20AC;&#x2122;, referring to the finnish word for journey.
IN THE RESIDENCY September 2012
â&#x20AC;&#x153;Wander/Wonderâ&#x20AC;?
RYAN MCGENNISKEN
Australia
R.mcgennisken@gmail.com // www.ryanmcgennisken.com // Currently working and living in Berlin, Germany Ryan McGennisken, born and raised in rural Victoria, Australia is
tional living requirements. Living out of a bag, wherever he finds
an ambitious installation artist, drawer and wanderer. Focusing
himself he takes daily life, past experience and personal philoso-
on traditional mediums of watercolour and inks, Ryan channels
phy to create earthy dreamscapes with dark undertones of death,
a profound disconnect from the nine-to-five world, or any tradi-
destruction and melancholia.
MATKA - An exhibition with Hollie M Kelley to be held in Berlin in 2012. Whilst at Arteles, I slept in late, stayed up late, drank a lot of cof-
I then made a number of ink and watercolour drawings based on
fee, got lost in the forests and researched Finnish mythology.
Hunting, trapping, fishing, Gods, Shamans and Tuonela.
IN THE RESIDENCY August - September 2012
SAEBON KIM
Korea
s.j.helsvig@gmail // www.simenhelsvig.com
LEMONS, MORNING SAUNA, POP CORN AND HIBERNATION. They are what I did when I did what I did.
IN THE RESIDENCY August 2012
“I am a tree, but I am not confined to a single forest”
SIBYLLE IRMA
Switzerland
sibylle.irma@gmail.com // sibylle-irma.blogspot.com // Currently working and living in Lucerne, Switzerland I am a visual artist who loves to listen to people`s stories.
me direction for further research and progress.
I am using different mediums, such as drawing, photography,
My work shows the personal experience of dealing with the basic
sculpture, Installation and words.
emotions inspired by interaction with the wilderness and with
My approach to a project begins often with no actual plan in the
people.
beginning. I welcome Intuition as my guide.
Therefore I am using found objects or natural materials that I dis-
The process starts internally with my own physical reactions
cover specifically in the environment surrounding me.
and emotional exploration in regards to the outside world. The
Doing this also gives me the opportunity to demonstrate that I can
experimentation of combining new mediums with drawing is a
be independent of my economic situation.
great part of exploring and finding what I am searching for inside
Also the Idea of “recycling” is sociologically and materially impor-
myself. Discovering new ways of communication through art gives
tant to my work and the attitude of being an artist.
The work of Sibylle Irma in Arteles
that is foreign to human noise. She went into the woods late at
By Carlos Labbé
night to try to understand. She went naked late at night into the woods. She went into the woods late at night when it was cold. She
Sibylle Irma went deep into the woods. She took breathless walks
went into the woods late at night with and without a lamp. And she
between the masses of birch trees that surround the Arteles’s
felt scared. Sybille Irma discovered then that the artist can really
house trying to figure out –at the begining– why that inmense
understand her limitations of space and time if –instead of ignor-
verticality, what the purpose of the narrowness between them,
ing it, instead of imposing a preconcepted project, instead of mak-
and how these shapes affect and interact with local animals and
ing camouflage art– she exposes herself and evidences the inher-
human beings.
ent limitation of every piece of art. She wrote this investigations in
But the artist who comes to the residence remotely resembles
big charcoal billboards. Then she started to construct the armor.
these local lifeforms that have been mingling with the forest for
She found places in the woods with small logs that fitted her body.
so long. She needed to go deeper into the birch woods to achieve
She covered her arms, her legs and her chest. The most complex
a relevant piece of art that would organically embody the possibil-
and peculiar piece was the helmet; some of her fellow artists said
ity of ignorance and wisdom, which can only be endowed to the
that it reminded them of the hats of old suomi shamans, and the
creative process by the limitation of space and time.
kawéskar rituals too. When she finished it and put it on, she real-
So she decided to approach the trees with something that they
ized that the armor made her a couple of centimeters taller. And
would accept. She started drinking birch leaf tea daily. She col-
that she became more vertical now. Sybille Irma went deep into
lected small loose branches on the forest ground, burned them
the woods again. This time she was wearing the armor made of
in closed metal cans to obtain natural charcoal, and then spent
loose birch branches, natural fabric, ornated with feathers and
hours among the trees to draw the woods with these pens made
drawings. And at last she didn’t feel any fear there. For a fleeting
out of themselves. After hundreds of sketches, she learned that
moment her work drew her away from any limitations of space
the verticality of nature includes also a deepness and a silence
and time.
â&#x20AC;&#x153;ARMORâ&#x20AC;? During the residency at Arteles, I could amplify my artistic strate-
ground in the forest. I peeled some bark off with a knife. I then
gies and therefore the consequences of my art.
got textile yarn and used it as a thread to bind the sticks together.
I was overwhelmed by the woods and the trees here in Haukijärvi.
I made different pieces of armor to protect myself from the fear
Being in the woods provoked two very different reactions in me.
that was rising up at night when alone in the woods; calves, chest,
At daytime, it looked like a place of energy and silence that nar-
forearms and the head must be protected.
rowed my physical body, and at nighttime, the darkness and its
I then brought the armor for a day into the woods, to be energized
shadows turned the forest into a place where it was impossible to
by the sun. which just happened to appear when I was there, shin-
orient myself without a torch. But even with that great invention
ing onto the stone where I left my armor and the helmet.
of light, I promise, I could get lost easily.
I am ready now to go at night into the woods wearing the armor,
I started to collect birch branches and sticks that lay on the
fearless of what might surface in the darkness or in my mind.
IN THE RESIDENCY August 2012
CARRIE NAUGHTON
USA
carriethis@gmail.com // Currently working and living in Tucson, Arizona USA I write novels in my spare time. People always ask me what kind
actually more literary. And a helluva lot more fun. I guess when
of novels. I say: the entertaining kind. Science Fiction, post-
I turned thirty I realized that thereâ&#x20AC;&#x2122;s already enough sappy poetry
apocalyptic, paranormal, suspense and adventure, with a little bit
in the world, no need for my own. Now I have five novels in the
of comedy in each. I firmly believe that genre fiction is as valu-
works with an iTunes playlist to accompany each, and a stadium-
able, if not more so, than so-called literary fiction. Oftentimes itâ&#x20AC;&#x2122;s
size crowd of characters in my head.
TALO My Arteles residency plan was to finish a mystery thriller (with
the month of August writing the opening chapters and getting to
ghost) that I have halfway completed. But then I arrived and
know the crew, drawing the schematics for the Talo and develop-
began to investigate the big residency house (aka Nexus 9000,
ing, with expert help, a lexicon of Finnish science fiction words.
though I never heard anyone actually call it that). I have wanted to
My novels always tend to examine community, and what it means
write a space horror novel ever since I saw the movie Alien when
to be part of a unique group of people for a confined period of
I was twelve years old. I guess I needed to go to Finland to do it.
time. I think that thereâ&#x20AC;&#x2122;s no two better ways to contemplate that
The Arteles house became my blueprint for a haunted spaceship
than with a ragtag crew in outer space, or with a bunch of artists
called the Talo, which of course means house in Finnish. I spent
in the Finnish countryside.
IN THE RESIDENCY August 2012
“A story of the world after it’s over”
MONICA RIOS
Chile
monica.a.rios@gmail.com // www.simenhelsvig.com // Currently working and living in New York City, USA Monica Rios is a writer born in Santiago de Chile in 1978. She has
have appeared in Lenguas (2006) and Junta de vecinas. Antología
published the novel Segundos (2010), the essay La escritura del
de narradoras chilenas contemporáneas (2011). She contributes
presente: el guión cinematográfico como género literario -in the
regularly as a literary critic in magazines and web pages and is
volume De la violencia a las palabras- (2008), and coauthored Cine
currently working towards a PHD in Latin American Literature.
de mujeres en posdictadura (2010). Some of her short-stories
ALIAS EL ROCÍO, A NOVEL IN FIVE PARTS AND A CODA The work of Mónica Ríos in Arteles
out that even in the smallest of its phrases you have to read the
By Carlos Labbé
entire intensity of a novel. In the six parts that compose Alias El Rocío, she explored the contrasts between a documentary, a fic-
A robot sets fire to Hämeenkyrö. Two women talk about wood. A
tion film, and the person who is watching them. These contrasts
girl takes off her clothes and discovers that she has no body under
are in the plot of the novel, but above all in the squared-shaped
it. You have to choose one of these stories to write a novel. Why is
text of the small stories that look like a screen-shot on the white
that? Why do you have to preserve just one log and burn the oth-
pages, stills that only the reader can enchain. A robot sets fire
ers? In Alias El Rocío [Alias The Dew], the novel that Mónica Ríos
to Santiago. A woman who studies mummification ends up being
wrote during the summer residency in Arteles, these three sto-
the subject of her study. A man marries her wife’s daughter. In
ries are part of the thousand others that refused to subordinate or
the final chapters, these three characters meet others at Brocken
disappear under a main narrative.
Mountain, in a reinterpretation of Goethe’s Faust, where they join
A robot sets fire to New Jersey. Why not? Why can’t the robot
a crowd of animals which occupy the city, the entire country, and
just fly from Western Finland to the Eastern Coast of USA? Mónica
the world in search of the mysterious figure of El Rocío –male
Ríos figured out a way to write a novel about the disappeareance
and female, object and living thing, human and animal– who gives
of the political corpses in Chile and Latin America that include
sense to everything at dawn, but evaporates in the morning.
the everyday violences of the categorization and utilization of
The novel that Mónica Ríos wrote during her Arteles residency
any living body everywhere in the world: from the scientist who
dethrones the plot-driven literature and empowers the reader by
experiments with animals in a cosmetic lab to the documental-
giving him chances: either to look at a page as an art piece or
ist who manipulates children’s expressions in camera to provoke
to enjoy a storytelling; either to set fire to any place he –or she–
compassion in the viewer, from the writer who privileges blood,
always wanted to see on fire or not to harm anything and keep
action, and sensationalism to the producer who pressures an art-
the matches. Because when finally Mónica Ríos decided to really
ist to transform an avant-gard piece of art to an understandable
burn the stories of Alias El Rocío, during an Arteles’s evening
entertainment product.
bonfire, in a performance that she called A piece of history, she
A film is composed of stills; at the same time, a single still com-
didn’t felt liberated at all: you can never be forced to choose. You
presses the whole film. So if we took away one of its stills, would
can approach everything as in a still, only if you put it in motion
the film be partial? Mónica Ríos answered these questions to find
with your own personal reading.
IN THE RESIDENCY August 2012
“The choreography needs counterpoint”
CARLOS LABBÉ
Chile
celabbe@yahoo.com // en.wikipedia.org/wiki/Carlos_Labbe // Currently working and living in New York City, USA Carlos Labbé was born in Santiago de Chile in 1977. He has pub-
blancos” (2010 / 2011), as well as the records “Doce canciones
lished a hypertext novel, “Pentagonal: incluidos tú y yo” (2001),
para Eleodora” (2007), “Monicacofonía” (2008) and “Mi nuevo
the novels “Libro de plumas” (2004), “Navidad y Matanza” (2007)
órgano” (2011).
and “Locuela” (2009), the collection of short stories “Caracteres
LAS PËLLÍ CHEOROGRAPHIES (A NOVEL IN PROCESS) The choreography of a process
time that the action looses its localization in an account where all
About Carlos Labbé’s work in Arteles
the names of people and places have disappeared.
By Mónica Ríos
“The choreography needs harmony”. Las pëllí choreographies is also literature about music; it finds a way through the populated
“The choreography needs counterpoint”, declares one of the frag-
tradition of novels about musicians. It is a writing that traces the
ments of Las pëllí choreographies, Carlos Labbé’s fifth novelistic
common origins of the written profession and music; the modula-
project and his work in Arteles during August 2012. The literal
tion, though, is not only between these two expressions or those
translation for this title would be The Spiritual Choreographies,
three languages. These spiritual choreographies stage an experi-
articulated in Spanish, Mapuche, and English in order to reflect
ence of fragmented and disconnected diversity of races, origins
the cultural and musical counterpoint that compose contempo-
and codes, and how would the common language of music or oth-
rary identities of the West.
er bodily languages help to find vivid communication, even stron-
“The choreography needs rhythm”. The story of the novel covers
ger than any other identity such as family, friendship, nationality
forty-years of The Gymnastics, a band integrated by the Mapu-
or linguistic tradition. Las pëllí choreographies seeks to unravel
che-Chilean singer Gustavo Rain, the English guitarrist Joe Pedro
the creative experience as plenitude despite its fugacity.
Joe, and the Mid-Western American percussionist Dolores Stat-
During his stay in the residency in August 2012, Carlos Labbé
ton. The chronicle of the raise and fall of these stars focuses on
crafted a choreography for all these elements in a story that dra-
the love triangle between the three characters, but is above all
matizes the process of socialization between Latin American,
a reflection on their affinities and differences on religion, work,
European, African, and North American people in the big cities
and love. The journalistic tone of the authorized biography of The
of the West, centering in the naturalized production of new cos-
Gymnastics has been literally crossed-out and corrected by Gus-
movisions by mixed ethnicities in pop culture. It’s manufacture
tavo Rain, who is now on a wheelchair and unable to move any-
seeks to find the tone for an episode in the woods of southern
thing but his eyelids. The gesture of opening and closing his eyes
Chile by experiencing the birch woods that surrounds the resi-
becomes his only instrument to intervene a past of travelling,
dency; a choreography that explores that new place where we
singing on stage, being nothing but a body. Memory is placed in an
might end up seeing our bodies and their resonances flow in an
intense relationship with his situation as a disabled, at the same
unplanned dance.
IN THE RESIDENCY July 2012
MIKA MIZUNO
Japan
mikaphoto@live.jp // www.mikamizuno.com // Currently working and living in London, UK Mika Mizuno is a Japanese photographer, currently resides in
She expects to graduate from MA in photography at Goldsmiths,
London. When She was eight years old, a book entitled “Momo”
University of London in 2013. Mizuno’s work has been exhibited
by Michael Ende inspired her with a concept of strangeness of
including a solo exhibition, group exhibitions and art fairs.
chaotic world. Mizuno is aiming for a key lurking the underneath of daily life, which may trigger small revolutions and disclose new possibilities to perception.
BY STEPHANIE CHAMBERS at Arteles 7/2012 Mika Mizuno is a photographer from Japan that I had the pleasure
graphs feature black silouhettes of forests or roofs with vibrant
of sharing a month long residency with during the Summer in Fin-
pink and deep blue skies above them. Since they were taken at
land at the Arteles Creative Center. Due to this, I was privy to her
different times, the colors don’t match perfectly as each photo
process, conceptual refinement and transformations surround-
overlaps the next. This serves to highlight the passing of time and
ing her two projects completed during the month, ‘Predawn,’ and
presents the reader with a piece of work that can truly be experi-
‘In-between.’
enced visually.
Often, when I see a piece of artwork that I am strongly drawn to,
Mika’s second piece, ‘In-between,’ is a video slideshow juxta-
the actual finished piece appears effortless as if it has appeared
posing two photographs at a time on the screen as squares next
from thin air, or alternatively, if there are marks of the artist’s
to each other, representing perspective and impression. In this
hand present that those marks arrived both effortlessly and natu-
piece, the same object is shown twice in two different ways as
rally. With Mika’s piece, ‘Predawn,’ I felt the familiar and mag-
a means to present the viewer with a marked contrast of visual
netic pull of a piece that I was captivated by, but because of our
experience. The quietness of the piece creates a mental space
shared working space, I had the inspiring experience of observing
for the viewer to thoughfully experience the pairs on screen. For
that her work was the result of an intensely concentrated concep-
me, the most successful pairs were those that completely trans-
tual and visually explorative process.
formed the initial object on the left into something vastly different
‘Predawn’ was the piece I was most drawn to during the Arteles
on the right. In one pair, the left photo features Finnish wildflow-
Summer Day. It is a video piece based around Finland’s midnight
ers in a field and in the right photograph is a shape, close-up and
Sun phenomenon. In asking Mika about the piece, she told me
silhouetted so that it’s black with a blue sky behind it, suggesting
that for her in Japan, midnight represents darkness and that
an almost human form. Another pair that supported the concept
dawn represents hope, giving the night a specific emotional arc.
strongly includes a window on left, the crossbars of the frame
Due to the Sun not setting in Finland during the Summer, provid-
silhouetted and black with only the four window pane squares
ing an absence of darkness, she wondered how the Finns expe-
to an outside field visible. The image on the right is from inside
rienced the psychological arc of the night passing. It was with
the field, with fog rolling in. This piece is quite haunting because
this intention that she began work on ‘Predawn.’ Using medium
it includes a stark dichotomy of inside and outside, yet neither
format, she photographed the Finnish countryside from midnight
space feels safe or quite settled.
until 3AM over a period of a few days hoping to better understand
Visually, Mika’s work is a rare combination of both bold and sen-
their night. The result is a stunning video piece of these photo-
sitive. She exacts with skillful and conceptual precision what to
graphs, appearing on the screen one at a time, overlapping from
highlight and draw the viewer to in her photographs. Both pieces
left to right to create an imagined horizontal landscape across the
completed at Arteles are stunning and tremendously engaging to
screen for the viewer of the midnight Sun. The individual photo-
view.
IN THE RESIDENCY July 2012
SIMEN J. HELSVIG
Norway
s.j.helsvig@gmail // www.simenhelsvig.com // Currently working and living in Copenhagen, Denmark Promiscuous in terms of media and working methods but faithful
medium, of perception, or of art making itself in its most primary
to a set of interests, my work tends to deal with the conditions of a
forms.
ROCKS ROCK ON I had planned to spend the time at Arteles doing research for a
latter half of my stay was dedicated to work with carving rocks
tentative exhibition project that had the relation between photog-
found along the country road and subsequently placed in the soil
raphy and sculpture as its point of departure. While I have read
of the forest paths, taking long bike rides with my camera along
a great deal of the many books I brought to Finland, I soon real-
the fields and forests, making videos in the garden and building
ized that I needed to take advantage of being in this very special
primitive stone sculptures.
place and work in and with the surrounding environment. So, the
IN THE RESIDENCY June 2012
TATJANA GORBACHEWSKAJA
Russia
gorbachewskaja@gmail.com // www.flickr.com/photos/gorbachewskaja/ // Currently working in Frankfurt am Main, Germany â&#x20AC;&#x153;I am an architect and researcher. I am interested in challenging
A kind of architectural organisation is introduced where the soft
the boundaries between textile and architecture. How they can
elements will become rigid through collaboration, by weaving,
redefine our relationship to space and construction organization.
bundling, interlacing, braiding or knotting.
Textile organisation fascinates me in its incredible light and inte-
My research seeks to interface the yet described creative free-
grative structure.
dom of material design with the abstract order of digital systems.
I want the textile itself to become tectonic, without the help of any
I believe this blend gives a possibility for the invention in the
other support.
realm of the matter.
FLOW In order to save energy lightness yet hasn’t found enough atten-
dimensionally heterogeneous materials with a graded stiffness,
tion in construction. In the future much may be gained by this
a structural hierarchy, and a locally controlled lighting dynamic
enormous innovative potential.
performance.
For the optimization of a structure three aspects have to be con-
Studies are split up in two basic typologies and got focused on
sidered: the material itself, the shape and the production process.
“layering” and “branch” fiber composite organizations.
While getting lighter the balance between these three aspects
The models are an abstract construct, like a diagram, or DNA
becomes critical.
genes with integrated logic of programmatic and structural
That is why unique notion of lightness and lighting in fiber struc-
growth, that is able to be unfolded on the next step in the disci-
ture is investigated, as one of the highest potential for this trinity.
plinary and creative process of making architecture.
The project investigates physical experiments that create three
IN THE RESIDENCY June 2012
â&#x20AC;&#x153;a correct geography: not as you would find it if you had a geography book and a map, but as it would be in periplum, that is, as a coasting sailor would find it.â&#x20AC;?
LARISSA PINHO ALVES RIBEIRO
Brazil
lpinhoalves@gmail.com // larissapinhoalves.com // Currently working and living in Rio de Janeiro, Brazil Larissa Pinho Alves is a visual artist and a resercher in Litera-
both camps, the relationships between language, memory and
ture and Contemporary Culture at PUC-Rio. She develops her art
temporality.
project in confluence with her research project, investigating, in
PHOTOBIOGRAPHIES Photobiographies is a series of images constructed from memories of an experience.
IN THE RESIDENCY June 2012
STEFFANIA PAOLA
Brazil
stealbanez@gmail.com // www.steffaniapaola.com // Currently working and living in Rio de Janeiro, Brazil Iâ&#x20AC;&#x2122;m visual artist and currently my interest is in the tension
I use archives and the official discourses to create a new fiction
between fiction and reality in many directions: work, personal
works in many media: photography, video, collages and instala-
discourses, historical discourses, official discourses and politics.
tions.
BRAZILIAN LESSONS: BASIC LESSONS TO CONSTRUCT A COUNTRY In early 2012 I found about 2000 slides at a flea market in Brazil.
The mission
They were images from different places around the world, from
1. Assuming that the files are part of a project for a Brazilian for-
Ghazza to Milan, and also some from Brazilian States. Investigat-
eign policy that aimed to present Brazil to other people;
ing this archive I found out that the former owner of this material
2. To continue this project in 2012;
was a Brazilian journalist and historian who traveled the world
3. Knowing what other people know about Brazil today;
on a mission between 1958 and 1964. This material became the
4. Create a booklet of lessons about Brazil today, recreating an
starting point for a project of self-fiction and fictionalization of a
“official” Brazil
Brazilian foreign policy that I’ve named as “Brazilian Lessons”.
IN THE RESIDENCY June 2012
“I am not an artist, really not even a photographer; I am a storyteller”
ANA GALAN
Spain
ana@anagalanphoto.com // www.anagalanphoto.com // Currently working and living in Madrid, Spain I review the portrait formula that emerged in Italy towards the end
ing in three different cities: Oxford, Madrid and Paris. In the last
of the 15th century, whose origins can be traced to the work of Jan
two courses, I wrote a thesis addressing “Speculation in Plastic
Van Eyck, which associated, in painting, busts with landscapes.
Art”.
People are reduced to busts or three quarters, substituting
Since 1993 I combine my passion for photography with my profes-
through synthesis, the whole for the part. Realistic portraits
sion, attending various courses in Paris and Madrid. After doing
that do not aim to idealize the subjects’ features, the figures are
an MFA in Photography in 2009/2010 at EFTI, and after attend-
placed in a raised position before a wide landscape.
ing workshops with Pierre Gonnord, Eduardo Momeñe, Peter
A point of view and a single location. A part of the whole. An
Bialobrzeski, Lynne Cohen, Matt Siber, José Ramón Bas, Eugenio
impression. A small fragment of the essence.
Ampudia, Alejandro Castellote, Chema Madoz… my photography
Windows, and at the same time, mirrors. Conflict between intro-
becomes more personal. Since then I have participated in several
spection and the projection of the subject inherent to portraiture.
collective exhibits and photography projects in France, Italy, India,
Transparency or reflection?
Spain, Finland and USA.
I was born in Madrid in 1969. After receiving my degree in Eco-
I work as the marketing director for a magazine in Madrid.
nomics, I completed an International MBA, which entailed study-
VIV(R)E LA VIE ! Viv(r)e la vie! is a photography series “in process”, consisting of
tural diversity that exists between different cities and countries.
photographs of couples in profile with a landscape of a country-
The objective of this project would be to form an extensive visual
side in the background, and pays homage to those people who
transcultural inventory, almost as small histories of social and
continue to live “in the moment”. As well in its coniferous land-
anthropological life of some people that are reaching a mature
scapes, the series recreates the representation of the power of
age, but remain active.
vital force, of immortality.
The second series of “”Viv(r)e la Vie!”” was developed in the
Viv(r)e la vie! Is a photographic typology of couples of a certain
American city of Philadelphia in June 2011 thanks to an artist res-
age, people barely seen socially, but who have not stopped living
idency I was granted by the Philadelphia Art Hotel and the third in
life fully and whose close relation is photographed in the outing
June 2012 in Pirkanmaa in Finland thanks to a residency granted
dances of their area. I began the series Viv(r)e la Vie! in Guadala-
by the Arteles Creative Center. The fourth series of this project
jara, Spain, with the idea of putting together a set of series of 10
will be produced in May 2013 in Iceland.
couples in different cities around the world. The photographs give visibility to people which, for a certain time, have lacked such visibility and also documents the cul-
PROJECT June 2012
LINTUKOTO (FOREST POD) STEPHANIE CHAMBERS USA SIMEN JOACHIM HELSVIG Norway MIKA MIZUNO Japan AQUICO ONISHI Japan REETTA PEKKANEN Finland SUSAN E. EVANS USA Prompted by an offhand comment at a social event, some of the July 2012 residents joined together to pool their abilities in order to build a treehouse at Arteles.
The Lintukoto forest pod project is based around the Finnish folk
diamond shape is filled in with a lattice constructed out of wood.
tradition of Lintukoto, a mythical space where heaven and earth
Plants, specifically vines, will be planted in Fall 2012 or Spring
meet and as a location under the edge of the sky (like a tent),
2013 at the base of the tree. Over the ensuing years, these vines
where the birds meet when they leave Finland for the winter.
will be trained as they grow to fill in around the wooden lattice
In contemporary times the term lintukoto refers to a cozy, safe
structure, thereby creating living walls of leaves. This natural
place. The idea is to build a pod within the forest that represents
base represents Earth. The top of the diamond represents heaven
â&#x20AC;&#x153;lintukotoâ&#x20AC;? of both, Finnish tradition and contemporary meaning.
and is fashioned out of sailcloth tethered with airplane wire. The
The forest pod is built around a single pine tree located on the
pod has both, interior and exterior spaces, creating a cozy perch
wooded grounds of Arteles Creative Center in Haukijärvi, Finland,
for viewing the nearby lake, forests and fields. This pod serves as
and is shaped like a double terminated quartz crystal or raw dia-
a starting pod to which additional pods could be added to nearby
mond. The base of the pod starts at the tree roots and the tall-
trees.
est point extends nine meters above the ground. The base of the
IN THE RESIDENCY June - August 2012
SUSAN E. EVANS
USA
see@susaneevans.com // www.susaneevans.com // Currently working and living in Detroit, MI, USA North American conceptual artist Susan E. Evans works, both
Some of which include The George Eastman House Museum,
solo and collaboratively, in a variety of media to explore ideas of
NY; Los Angles Contemporary Museum of Art, CA; Museum of
language, identity, nature, memory and phenomenology. Work-
Fine Art, Houston, TX; Detroit Institute of Arts, MI; Musée de
ing with photography, video, sculpture, installation, and hybrid
l’Elysée, Switzerland; Centro De La Imagen, Mexico; Southeast
media, Evans pulls content from a variety of sources, experiences
Museum of Photography, FL; Cincinnati Art Museum, OH; Akron
and concepts. Dissecting, then deconstructing context, informa-
Museum of Art, OH; The Henry Museum, OR; Center for Photog-
tion processing, categorizations and language philosophy, Evans
raphy Woodstock, NY; Center for Creative Photography; AZ; and
examines standardized visual structures and language systems.
Gallery Lichblick in Koln, Germany.
Susan E. Evans has work appearing in both public and private collections worldwide.
EXPERIMENT, EXPLORE AND CREATE Over the summer 2012 at Arteles Center, I had the opportunity to
several sculptural projects, which allowed me to start thinking
work on a variety of creative projects, all of which were experi-
more dimensionally about my art works and my art practice.
mental and explorative in some way, however, the projects can be
Experimental Projects seem to cover the rest of the things I
broken down into four main categories.
played with while at Arteles. I gave myself permission to explore
Solo Projects revolved around the fact that I have traced my mito-
many tangent ideas, concepts and possibilities while experiment-
chondrial DNA and have learned out that my biological ances-
ing with new ways of working.
tors are from Finland. Working with video, photography and performance, I explored ideas of memory, history, nostalgia and mythology.
Top to Bottom, Left to Right
Collaborative Projects with other residents presented themselves
Birch #2
from month to month and ranged from, performance, photogra-
still from The Forest HDV 4:34 mins
phy, video, composing music to writing and editing. These col-
Installation view of Creating Energy
laborative projects either conceptually fed into ideas I already was
still from Looking for Adam Gibson: ‘Going to the Sauna of Lonely
working with or helped spark new ideas and new ways of working.
Hearts (Haukijärvi, Finland)’ HDV 6 mins
New Method Projects were an opportunity for me to work from
In My Mouth…self portraits 51 cm x 61 cm
conception to fruition in unfamiliar ways with new or different
details from Scenic Suomi Scenes
materials than I am used to working with. I was able to actualize
Song Thrush, Collaboration with Sibylle Irma”
41 cm x 92 cm
IN THE RESIDENCY June 2012
“J.R. Uretsky artist and friend!”
J.R. URETSKY
USA
jruretsky@gmail.com // www.jruretsky.com // Currently working and living in Providence, RI, USA “I make abstract sculptures about my relationship to specific
I received my BFA and MFA in sculpture and video and am cur-
people. When making these sculptures, I seek to portray how a
rently working in Providence, RI. I have exhibited nationally and
particular person affects and influences my art practice. Using
internationally at venues in New York, Los Angeles, Boston, and
the sculpture like a prop and my relationship to an individual as a
Germany. My work has been published by online and video jour-
point of departure, I employ video to transform mundane actions
nals such as Gaga Stigmata and ASPECT-EZ.
into strange, yet relatable experiences.
Waiting for the Joulupukki, Midsummer (Photo: Julie Pasila)
Waiting for the Joulupukki, Boat (Photo: Julie Pasila)
WAITING FOR THE JOULUPUKKI Waiting for the Joulupukki is a multifaceted project featuring a
for the Joulupukki project creates situations for social exchange
series of videos, private and public performances, sculptures and
by mixing old gift giving traditions with current taboos. My hope
collaborative photographs that examine the human relationship
is that these exchanges, though awkward, remain genuine and
to hope, ritual and gift giving. Using a contemporary understand-
bring into high relief the human desire to hope, wish and engage
ing of the Santa Claus myth as a point of departure, the Waiting
in a community.
IN THE RESIDENCY May 2012
ALBERTO M. CENTENERA
Spain
albertomcentenera@gmail.com // www.albertocentenera.blogspot.com // Currently working and living in Guadalajara, Spain I use to work in Nature, but I like to do it in a harmless way, not
When I talk about other subjects, not related with Nature, I think
harmful.
I do the same: no permanent things, not sophisticated (I mean
For me, the object is not important at all, so I don´t care if it
perfection), etc. I think I can define the way I work, and the way I
remains on time or in the space, or not, because everything is
am with words like smoothness, naïf, quiet…
constantly changing. That´s the reason why I don´t try to do
I´m interested too in self-management as a useful way to demo-
permanent objects, just try to do something positive, even if it´s
craticise culture. I lead and participate in a cultural project called
ephemeral.
EACEC (Container Contemporary Art Space, in English). EACEC is
I think art is a very reflective process, but I don´t want to do
a container on the street where we invite artist to make ephem-
dogmas, or big truths, but just little thoughts or ideas, as it come,
eral interventions, performances, etc. It´s just a way to enjoy our-
it can disappear, or change. That´s what my artworks intentend
selves, collaborate with other artists, and share culture with the
to be.
people.
I´m interested in essential, not in sophisticated things. So I like to
www.albertocentenera.blogspot.com
draw, or use natural elements as wood, stones or feathers. I use
www.eac-elcontenedor.blogspot.com
to built fragile structures with them.
HAVING FUN IN THE FOREST I walked a lot by the finnish forest. I didn´t know what I was look-
mood, I gather feathers, papers, stones, small branches and all
ing for, maybe myself. Being in a quite mood to create.
the things I feel useful to express what I want to.
In my time in Arteles, I was interested, most of all, in being in a
I had a great personal experience and learned from the experi-
direct contact with the environment. My working process is very
ence of others in Arteles.
reflective and it depends on what I see and what I feel. In a quite
IN THE RESIDENCY May 2012
“Waiting for inspiration is a waste of time. Artists Work. Working the Work Inspires the Inspiration.”
JOSÉPHINE A. GARIBALDI & PAUL ZMOLEK
USA
garijose@isu.edu // www.youtube.com/user/satiricalfarce // Currently working and living in Pocatello, Idaho, USA Joséphine A. Garibaldi and Paul Zmolek are working veterans of
Ginestrelle in Assisi, Italy) and the original opera Double Blind-
the Performing Arts – over 30 years each including 20 as cre-
sided based upon Franz Kafka’s The Trial which will be premiered
ative partners; they teach, choreograph, direct and devise original
in April 2013.
intermedia dance, theatre and performance works for the tradi-
The product is directly shaped by the process and thus we are
tional proscenium stage to site specific festivals across the US
process-oriented. Our process is collaborative, even when not
and abroad.
working with people. The media leads us if we are willing to lis-
Garibaldi and Zmolek, university professors of dance and the-
ten and the media is willing to risk exposure. Perhaps, due to
ater in the US, co-direct Callous Physical Theatre. Recent proj-
our Catholic upbringings, the ritual of the process and the ritual
ects include the re-creation of the physical theatre work The
structure of the product comes through most of our work. As
Rule of Life for video to be premiered in Italy in December 2012
Americans, where work is valued in dollars and not in sense, we
(based upon the lives of St. Francis and St. Clare of Assisi, The
have explored other cultures where art is valued and the value of
Rule of Life was conceptualized while in residence at Arte Studio
the work is more than how much the job pays.
WHAT WE DID AT ARTELES: Birch Loops, May 2012
III K•O•N•T•A•I•N•I•N•G;
Arteles Creative Center- Environmental installation in the Arteles
IV. 15’ (after John Cage: 4’33”);
forest.
V. Thesaurus Entry: Contain;
Initiated by creating an altar around a beautiful group of boulders
VI. Yksi ja Sama Asia (after John Cage: Empty Words).
by surrounding them with a ring a logs. This led to braiding sun-
Photo Essays:
starved skinny saplings into loops and evolved into a major instal-
Dirt, Orange Poles, Bicycles, Birch Close-ups, Understory, Birch
lation covering approximately 5,500 sq ft.
Groves, Ice Rink, Bogs, Studio Time
Cagevent: Sometimes it Works, Sometimes it Doesn’t
In-Progress:
http://youtu.be/wGUFbPn9NSo
Collected stories/movement on video/audio from fellow artists in
May 28, 2012, Helsinki
residence about their sense of Place in this place to be edited
Kontaining performance festival produced by Ptarmigan.
into video work; collected birch bark to be sewn together into a
This collaborative performance with Helsinki-based poet Karri
tapestry.
Kokko consisted of two separate performances of six 15 minute
Sahti:
events inspired by John Cage and his utilization of aleatoric com-
Thanks to Pekka, visited three local brewers/experts/champi-
position. Titles of events:
ons of the traditional Finnish beer. Paul has altered/improved his
I. Yksi ja Sama Asia
recipe for his home-brewed Sahti based upon what he learned in
(after Robert Rauschenberg: Erased DeKooning); II. Beginner’s Finnish Coffee;
Finland and the bag of Finnish Dark Rye we brought home from Hameenkyro.
IN THE RESIDENCY Aprl-May 2012
â&#x20AC;&#x153;Do what you can with what you have.â&#x20AC;?
DOROTHY MCCALL
USA
dorothyannmccall@yahoo.com // wwwnordic5arts.com // Currently working and living in Oakland, USA Independent art historian with MA Art History, Mills College,
peoples and cultures: revealing possibilities while giving strength
Oakland, California. For 25 years was docent/lecturer at deYoung
and inspiration. Since my Norwegian immigrant grandmother
Art Museum, San Francisco in primitive arts. Give lectures at
took me to the Chicago Art Institute at age fourteen and showed
colleges, community, cultural and business events focusing on
me the works of Mary Cassatt I have looked to Art for guidance
19th-20th century Scandinavian-American Art. Art connects all
and have found it. It is my quest to pass this gift on to others.
ESSAYS, INTERVIEWS AND ADVENTURES I intended to write a series of essays about the many adventures I
Interviewed and wrote essays on the other artists at Arteles in
have had during my art history life including giving a lecture on the
April and gave the last presentation after they had talked about
QEII and Ellis Island on Scandinavian art and the immigrant expe-
their work, I talked about what I learned from each one of them.
rience, writing and giving lectures to physically and challenged
It was a positive experience and an audience member asked me
museum visitors, creating art objects with them they might take
if I was their professor and I said, â&#x20AC;&#x153;No I am one of them.â&#x20AC;? We all
them home as a memory tool and being a Camp Director in Wis-
laughed with love and good cheer for each other.
consin creating art in many forms from cooking to costumes to dancing. I have had one positive adventure after another, and I wanted to pass art on.
IN THE RESIDENCY April-May 2012
ELLA COLLIER
Canada
collier.ella@gmail.com // www.ellacollier.com // Currently working and living in Vancouver, Canada Art and humour. Letâ&#x20AC;&#x2122;s all have a laugh!
EPIC FAIL IResearched failure successfully and made art about it.
IN THE RESIDENCY April-May 2012
JACQUI MILLS
Australia
jacqrose23@gmail.com // nightbirdvision.blogspot.com // Currently working and living in Sydney, Australia Jacqui Mills is an emerging video and installation artist primarily
sals (Sedition Gallery), and Intertwined: A Virtual Lover (Breathing
interested in exploring theories of the gaze, and human interac-
Pop-Up Gallery - New Performance Art Festival Turku, Finland).
tion with the visual and virtual environments. A graduate from
Jacqui has previously engaged in collaborative work with Berlin
the Eora Centre for Visual and Performing Arts in Theatre, Per-
based painter and installation artist Martin Püschel, creating
formance and Practise (2006), and Screen (2007), Jacqui looks
works such as Distant Memories (ATVP Gallery) and Dispiteous
forward to completing her Bachelor of Fine Arts with Honours in
Opera. Jacqui’s recent artistic endeavours include working as
2013. Jacqui’s debut in video for theatre was in 2010, as the Audio/
a media artist and set designer for performance, for Bully Beef
Visual artist for the Eora Centre’s graduating Music Theatre pro-
Stew, commissioned by PACT Centre for Emerging Artists, and
duction, The Promise. Her body of work, Gaze (2010), explores the
Directed by Andrea James. Her current work explores the nature
female body and the nature of surveillance culture, using interac-
of memory as a disappearing entity that is being replaced by a
tive technologies, installation, sound, and performance. Her other
fetishised online video and photographic documentation of our
audio/visual works from 2009 to 2012 include Liminal (Kudos Gal-
increasingly virtual lives, and she continues producing drawings
lery), Transcendent Space, Doppelganger (Cofa Space), Univer-
and paintings exploring themes of human connectivity.
INTERTWINED: A VIRTUAL LOVER Intertwined: A Virtual Lover is a performance/installation work
rounded by visual and written representations of my virtual self,
exploring the nature of human interactions with virtual worlds,
I find myself in a stalemate, entangled in a technological mess,
and the virtual self as ‘other’. The conceptual basis of this work
and intertwined in an intrinsic and narcissistic relationship with
emerged from surveillance culture, and Jeremy Bentham’s theo-
my virtual self. During my time at Arteles I also created a series of
ry of panopticon, or a kind of self-surveillance, which we experi-
drawings and paintings, as well as a series of videos exploring the
ence every day both in the virtual and the Real world. Considering
concept of ‘place,’ which can be viewed on my blog. Intertwined:
the narcissistic nature of interactive technologies, this perfor-
A Virtual Lover is a performance/installation work exploring the
mance/installation attempts to highlight David Rokeby’s notion of
nature of human interactions with virtual worlds, and the virtual
‘technology as a medium through which we communicate with
self as ‘other’. The conceptual basis of this work emerged from
ourselves:…a mirror’. Portraying myself as the performer sur-
surveillance culture, and Jeremy Bentham’s theory of panopti-
rounded by visual and written representations of my virtual self, I
con, or a kind of self-surveillance, which we experience every day
find myself in a stalemate, entangled in a technological mess, and
both in the virtual and the Real world. Considering the narcis-
intertwined in an intrinsic and narcissistic relationship with my
sistic nature of interactive technologies, this performance/instal-
virtual self. The video documentation of the performance which
lation attempts to highlight David Rokeby’s notion of ‘technology
took place at Breathing Pop-Up Gallery in Turku, for the New
as a medium through which we communicate with ourselves:…a
Performance Art Festival in Turku, can be viewed on my blog at
mirror’. Portraying myself as the performer surrounded by visual
Intertwined: A Virtual Lover is a performance/installation work
and written representations of my virtual self, I find myself in a
exploring the nature of human interactions with virtual worlds,
stalemate, entangled in a technological mess, and intertwined in
and the virtual self as ‘other’. The conceptual basis of this work
an intrinsic and narcissistic relationship with my virtual self. Dur-
emerged from surveillance culture, and Jeremy Bentham’s theo-
ing my time at Arteles I also created a series of drawings and
ry of panopticon, or a kind of self-surveillance, which we experi-
paintings, as well as a series of videos exploring the concept of
ence every day both in the virtual and the Real world. Considering
‘place,’ which can be viewed on my blog at http://www.youtube.
the narcissistic nature of interactive technologies, this perfor-
com/watch?feature=player_embedded&v=XEeO1nzMTmM. Dur-
mance/installation attempts to highlight David Rokeby’s notion of
ing my time at Arteles I also created a series of drawings and
‘technology as a medium through which we communicate with
paintings, as well as a series of videos exploring the concept of
ourselves:…a mirror’. Portraying myself as the performer sur-
‘place,’ which can be viewed on my blog.
IN THE RESIDENCY March 2012
NATASA KOSMERL
Slovenia
natasa.kosmerl@gmail.com // Currently working and living in Ljubljana, Slovenia Nataša Košmerl was born in Novo mesto, Slovenia in 1983.
ECAL in Switzerland. Currently she is living and working in Lju-
She studied photography at Film and TV School of Academy of
bljana, Slovenia.
Performing Arts in Prague / FAMU between 2003 - 2006, where
Natasa is working mainly with subjective photography, where she
she finished her Bachelor degree. After she continued her stud-
tries to capture intimate moments in life.
ies at Master program at University of art and design Lausanne /
FINLAND (WORKING TITLE) When I started to do residency program I was five months preg-
Series will develop over longer period of time, and I will try to
nant. For me this is important period, a new beginning. And I
capture all its states: pregnancy, birth, new life, and the change
decided to point camera towards my-self. Staying in Arteles was
which will bring into our lifeâ&#x20AC;&#x2122;s.
a chance to concentrate on the change which is happening inside of me, on my partner, and our relationship, as we spend all this time together.
IN THE RESIDENCY April 2012
“Sober & Lonely”
SOBER & LONELY
South Africa
lauren@soberandlonely.org/robyn@soberandlonely.org // www.soberandlonely.org // Currently working in Johannesburg The Sober & Lonely Institute for Contemporary Art (SLICA)
lectures, debates and an online archive. The Suburban Residency
is a non-profit organisation whose main focus is on fostering
was the first in a series of artist residency programmes hosted
exchanges and conversations between South African and interna-
by SLICA.
tional artists and organisations. Loosely based in Johannesburg
The Sober & Lonely Institute for Contemporary Art has been
and Durban, SLICA is a non-prescriptive platform with an intrinsic
developed as an extension of Sober & Lonely’s artistic practice
curatorial process focused primarily on performance and interac-
to create a platform of sharing and engagement between artists
tivity. As a floating platform, each concept is uniquely adapted to
and organisations.
the specific project showcased, including exhibitions, screenings,
THE NANCY HOLT TELEPORTATION DEVICE “Nancy Holt’s environmental work Up and Under (1998) is located
Sober & Lonely used their time at Arteles to develop a project
in the village of Pinsiö in the west of Finland. Developed by Osmo
based on Nancy Holt’s ‘Up and Under’ and came up with the fol-
Rauhala’s The Strata Project Holt’s work creates new possibilities
lowing plans to further develop it:
for environmentally damaged areas. Set in an old sand quarry,
1) To explore Up and Under as a device. A structure that has the
Up and Under is formed by a series of seven horizontal tunnels
potential to activate movement and energy via teleportation
buried under mounds of earth. Four of the tunnels converge
2) To stage various experiments in teleportation between ‘Lab A’
revealing a central vertical tunnel - a suggestion of “the centre of
(Up and Under) and ‘Lab B’ (other site)
the world” (Rauhala, [sp]). Four of the tunnels are aligned East-
3) To repurpose a repurposed site - to activate Up and Under
West and three North-South based on the alignment of North
4) To create a direct line of communication between ‘Lab A’ and
with the North Star Polaris. According to Rauhala, the work is
‘Lab B’ - a relational project
thus “astrally fixed on earth” - giving the sense that the universe
5) To record, document and then recreate a sense of the experi-
begins and ends at the Pinsiö sand quarry.
ments within a gallery space”
IN THE RESIDENCY March 2012
â&#x20AC;&#x153;Just beâ&#x20AC;?
VALERIE NG
Maleysia
valng@hotmail.com // www.valng.com // Currently working and living in Singapore My abstract works are created as a result of explorations in
Drawing inspiration from natural elements, hues and patterns
colour, light, depth, form and texture. In a process that involves
in the environment, my oil paintings aim to evoke an experience,
an instinctive balance of strokes and subtle variations to convey a
sensation or atmospheric feel. With compositions that express
sense of mood and movement beyond the surface.
the different states and impact of nature on its surroundings.
OBSERVED THE OBSCURE Wandered in the snowy landscape.
Created papier-mache objects that depict fragments from the
Absorbed and observed the endless variations and effects of nat-
outside.
ural forces.
Collected thoughts for an artist book, ‘Moments of Being’.
Relished the quiet, time and space to just be.
Began the many layers and marks of the painting above,
Painted and sketched textures of trees, rocks and ice.
‘Obscured’.
Photographed organic patterns and discovered objects hidden under the surface.
IN THE RESIDENCY March 2012
IVAYLO GUEORGIEV
Bulgaria
ivaylo@gmail.com // http://jpgwav.tumblr.com/ // Currently working and living in NYC, USA Ivaylo Gueorgiev was born in Bulgaria. When he was twenty years old he emigrated to the United States. In 2008 he discovered the endless possibilities of the void.
EUPNEA During my stay at Arteles I was inhaling and exhaling the air around HämeenkyrÜ, Finland starting at 15:55 on March 1st and ending at 18:15 on April 1st.
IN THE RESIDENCY March 2012
“Void the Fill”
VANESSA ’VAN DIESEL’ BRAZEAU
Canada
brazeauv@gmail.com // www.vanessabrazeau.com // Currently working and living in Toronto, Canada For a long time my work was an obsessive desire to understand
I no longer need to know why I make things, or have answers to
why I was making my work. Recently I became aware that I would
the questions my works raise, I only need to continue to ques-
never fulfill this desire, and it was then that I found passion in my
tion it. Embracing this eternal lack inspired an exploration of the
practice. I realized it was never about understanding why, it was
notions of expenditure and utility, the labour of the artist, food
being aware that I was looking. Accepting an art practice with no
consumption and exercise.
end beyond itself has inspired me to see the value of the void.
”WAITING FOR POISSON” AND MOLASSI FAN-ZINE Waiting for Poisson’ is about two Artists in an ice fishing competi-
acteristically athletic. Athleticism (agility, strength, intuition) and
tion. The video was inspired by an essay called ‘A Hypothesis of
competitiveness have a direct link to survival. If the artist is not
the Evolution of Art from Play’, by Ellen Dissanayake. It was also
perceived as having these skills, we need to question why art and
inspired by my interest in competition in art (artist vs. artist, vs.
their makers still exist, which is the intent of “Waiting for Pois-
art world, vs. self) and its disregard within the art world, which
son”.
I think comes from the misconception that artists are not char-
We started an artist collective called the Spoon Gang and made a pretty badass Fan-Zine too.
IN THE RESIDENCY March 2012
“Love u and goodmorning glad you are awake to read this, let’s spread more positive energy instad of trying to hurt sum1 for it - Lil B”
JOE & DAN COOPER
UK
joejohncooper@gmail.com, dcooper2312@gmail.com // www.thesunhasblindedme.com // Currently working in London, UK Brothers & friends. Sight & sound. We can’t/won’t take criticism and we create elaborate schemes to avoid it. If we don’t try we can’t fail, and that’s fine with us.
UNTITLED BS Walked and made a magazine with our friends in the last two days. Now we try to think less and be more peaceful, but you know how that goes. Maybe we learned that life is alright kid.
IN THE RESIDENCY February 2012
JI HYE YEOM
South Korea
yomiih@gmail.com // Currently working and living in Sao Paulo, Brazil Spanning locations in the Middle East, Asia, Africa and Europe
am interested in the amalgamation of those diverse social dis-
while travelling as a medium for research, I have been practiced
courses with private narratives. Details are provided by material
in two ways: one is a community based art project; another is a
taken from my own biography, intermixed with recollections of
research based art practice. In â&#x20AC;&#x2DC;Finding a languageâ&#x20AC;&#x2122;, I aim to find
films, literature and medias. My artistic output includes instal-
an alternative way of communication as well as make a contact
lation, sculpture, film and video, performance, collage, drawing
zone so that people can encounter one another. Afterwards, I have
and script writing.
transformed my personal narratives into the body of art works. I
WONDERLAND I have been interested in the idea why people fantasise another
in the middle of a snowy field and interviewed with people who
place and why they keep wandering around. I set a tropical island
wanted to travel out of Finland.
IN THE RESIDENCY February 2012
“I dream dream dream each day, of a wide unlimited address”- Don Walker
ADAM GIBSON
Australia
adamfgibson@yahoo.com.au // www.adamfgibson.com // Currently working and living in Sydney, Australia I am an artist from Sydney, Australia. I primarily work with what
I see what I do as attempting to communicate an idea or emotion
I call “”spoken word narrative/storytelling”” – writing stories and
or feeling through artistic means of narrative and music. A funda-
/ or pieces and putting them to music and often performing them
mental part of what I do, a fundamental process I follow, is doing
live.
most things with a degree of speed, some would say reckless-
Combined or in conjunction with that I do video works, photo-
ness, or at least a lack of concern for technical knowledge or skill.
graphic works and installation pieces ... but more and more my
That’s not to say that I have a distain for finely crafted works done
work is moving away from more gallery-orientated works to
with amazing skill, say a brilliantly edited video or well-executed
more storytelling and performance stuff, articulating my spoken
portrait, but for me, I operate on what I call, for better or worse, a
word stories / snapshots with music and making short videos
punk aesthetic, where the importance lies in the idea and getting
to accompany them. I also perform regularly with my band The
that idea done as simply and as quickly as possible.
Aerial Maps.
EMPTY BARS (HÄMEENKYRÖ) AND OTHER DISLOCATED SNAPSHOTS I see a correlation between the landscape of my home in Aus-
My experience at Arteles in the depths of the Finnish winter was
tralia and that of Finland. The wide, empty spaces, the silences,
both a challenging and incredibly rewarding one. Using the above
the need for a resolute sensibility in the face of a harsh climate.
ideas, I developed a suite of spoken word works, combined with a
Thus I came to Arteles looking to do work that would respond to
series of video vignettes, which provided a narrative and impres-
the unique Finnish landscape, work which sought to investigate
sionistic record of my time at the center. By attempting to “”be
the sense of place and/or disconnection I think I am felt in that
absorbed”” into the landscape and among the people and towns,
landscape coming, as I do, from a hot, dry land of deserts and
I wanted to make a record of my time in the area, filtering my
sun-scorched beaches.
experience through the lens of my “”Australian”” identity whilst at
I believe that land “”exists”” in and of itself – it doesn’t need a
the same time not limiting myself to any particular ideas of what
human population to exist. But when human emotions and expe-
IS or ISN’T art.
riences are projected upon that land, it becomes “”landscape””,
The result was video works about empty bars, about second-
and thus our worlds are created. The relationship of humans to
hand clothing stores, about getting lost in the frozen forest with
places is thus of vital importance in the creation of our impression
a broken heart trying to find a sauna. It all felt right, it all echoed
of the world, and our place within that.
correctly for me at the time and with a few month’s having now
As an artist, I am interested in investigating this idea through such
passed since then, such echoes continue to resonate.
means as spoken word and video work , plus other methods that incorporate my other areas of interest, ie. photography, sculpture and painting/object-making.
IN THE RESIDENCY February 2012
“I like cold places.”
MARK WUNDERLICH
USA
markcwunderlich@aol.com // www.markwunderlich.com // Currently in Catskill, New York I am a poet, writer and translator living in New York’s Hudson
United States in 2014. I teach literature and writing at Bennington
River Valley. I am the author of three volumes of poetry, the most
College in Vermont, and I also teach in the graduate writing pro-
recent of which is The Earth Avails, which will be published in the
gram at Columbia University in New York City.
THE NORTH & THE EARTH AVAILS While at Arteles, I continued to work on a manuscript of poem
protection and folk-spiritual documents. I also started a manu-
called The Earth Avails, which adapts, refracts, translates and
script of prose poems called The North, which aims to describe
reinterprets 18th and 19th Century American prayers, letters of
the experience of coldness.
IN THE RESIDENCY February 2012
NATALIA COMANDARI
El Salvador
studio@nataliacomandari.com // www.nataliacomandari.com, anitakirppis.tumblr.com/ // Currently in Geneva, Switzerland Mine courrent project is to document by filming different groups
sure to consumption but also a folklore and social codes reversed.
of young people (or not), who each possess their codes and refer-
With a methodology close to sociologist, i analyze and lead the
ences a variable in any time. Through these communities, i want
search for the other research of normal and abnormal.
to explore the behavior of hysterical disposition, culture and lei-
THE PRINCES IS DRUNK AND ANITA KIRPPIS The Princes is drunk is a video filmed in two parts: the first part
the High School of Hameenkyro with their annual bachelor party.
is the trip on a party boat from Helsinki to Tallin . I was interested
The marks of some old traditions makeing contrats with the new
of how the industrailisation of the party changes the ways of be
society and the new ways of celebrate.
together and also in the differents ways of how the youth cele-
I also create the brand of jewelry ANITA KIRPPIS wich came with
brate their own moderns rituals. The second part took place at
one cold, calm and white night in Arteles.
IN THE RESIDENCY February 2012
“An artist is a lightning rod in a deserted area, waiting for a storm.”
DANIEL ORLANDO LARA
Mexico
baobabd@yahoo.com.mx // www.danielorlando.com // Currently working and living in Tula Tamaulipas, México When i was a kid i remember that i liked to take pictures with my
tin at the Seminario de Fotografía Contemporánea 2010 Centro
mother´s camera Polaroid. Some years later i became interest-
de la Imagen. I´m open to experimenting photography with dife-
ing in black and white photography. Daily life and nostalgia were
rent techniques of image and visual expression. I like to work
my first subject. After studying at the Centro Fotografico Saul
with personal experiences, intuition, perceptions, dreams and
Serrano in México for two years program. I studied at National
imagination as a visual artist and photographer. I´m interesting
School of Photography in Arles as a resident student in 2007 then
to approach photography in several ways. My experience in Artel-
i received a scholarship from Centro de las Artes de San Agus-
es was great and intense. Now i´m in a new project at Atelier Smedsby based in Paris.
FUEGO DEL ZORRO / REVONTULET Digital photography At the beginning of the residency in Arteles the project was a little
The project explore my experience in Finland with the culture and
dificult about the phenommenon.
the finnish nature during the residency, searching the northern
So i started with two premises: making a drawing and a writing
lights in Haujikarvi. I started to use my imagination, perception
a prayer like an act of faith about the finnish nature; inspiring in
and intuition just to create a serie of situations, accions and reac-
ex-votos (religious naif painting from mexico)
cions, some steps to get watch the northern lights and what will
“ Dear Aurora Borealis, if i get to see you in the Haukijärvi night, i
happened about these day.
promise to be a better person, if you suddenly appear in the wood, your presence will be a honor for me during my residence in Arteles following my steps and take care us; the other residents, my friends and my family. Kiitos“
IN THE RESIDENCY January - February 2012
LAURA BATCH
Australia
laurabatchart@hotmail.com // www.laurabatch.com // Currently working and living in Melbourne, Australia Being born in 1991, started making sculptures in 2008, and cur-
context of sculpture, photography, drawing and video. I am also
rently completing my final year of Fine Arts degree at Victorian
very interested in the discourse between architecture and sculp-
College of the Arts, I still feel like a very raw piece of meat that
ture, or more broadly art, and how you can intertwine both disci-
been thrown into the lions den that is the art world. My prac-
plines. I aim to continue working mostly with sculpture, but pur-
tise currently involves experimenting, exploring and creating a
suing further studies in architecture.
dialogue with site, materiality and material bounds within the
WHAT WE REQUIRE IS SILENCE. Never had I seen snow before, so to see snow blanketing and
recordings of the chosen ‘silent landscapes/ sites’ and compiling
absorbing the entire landscape, was strange and beautiful. My
them into an immersive soundscape, which is at first seem to be
first instinct was to use and then exploit the abundant snowy land-
a recording of nothing, the more intensely you listen the more
scape and freezing winter conditions. I began with exploring the
aware of the sounds in the recordings and the sounds emanating
Arteles site and Hameenkyro, by creating drawings, casts, pho-
from the surrounding you stand in. Alongside, the soundscape I
tographs, and videos to document sites of interest. What dictated
created a similar video work that layered 3 or more videos I had
my choice of site is the overwhelming silence that I experienced
taken of the ‘silent sites’ to create a sort of videoscape that shows
whilst on residency, and how it was amplified within certain sites.
how the snow absorbs the entire landscape and makes it unrec-
The forest, the road, the fields, the market and my bedroom, they
ognisable and distorted in a way. Then to further distort the image
all were so silent, so much so you could hear your blood puls-
I projected it through a haphazard ice sculpture that I had made,
ing through your veins when lying in bed at night. Researching
which then made the video into a blur of blue/white light. Majority
John Cage’s theories of silence and music, helped me to pursue a
of my projects started at Arteles are ongoing works to be com-
new direction for me which was soundscaping. By taking several
pleted on return to Finland.
IN THE RESIDENCY January 2012
“Art and hacking are both forms of social engineering, art is just an intellectual and visual hack.”
CHRISTOPHER D WILLE
USA
chris@chriswille.com // www.chriswille.com // Currently working and living in Bloomington, IL, USA Christopher Wille is an artist based in Bloomington Illinois. He
an upcoming solo exhibition at Koh-i-noor in Copenhagen, Den-
received his bachelors of Art at Eastern Illinois University, and
mark . Recent recognition includes a Merit Award at the Emerg-
his Master of Fine Art at Illinois State University where he gradu-
ing Illinois Artist exhibition and an Honorable Mention at The 4th
ated with honors. His work combines new media with traditional
Cheongju International Craft Competition, as well as three artist
metals techniques to form a hybrid. Christopher’s work has been
residencies. These include I-Park in East Haddam, Connecticut,
shown nationally and internationally including New York, Texas,
SÍM in Reykjavík, Iceland, and Arteles in Finland.
Arkansas, South Korea, Berlin Germany, Reykjavík Iceland, and
ENcoded While at Arteles Christopher Wille developed four new works, two
With the applications Wille reinterprets art and the way we per-
applications that reinterpret art, and two printed digital works.
ceive it. With The Steal famous artist work is hacked, creating a
The digital prints were durational, both over a period of twelve
new work by Wille. The algorithm hacks the artistâ&#x20AC;&#x2122;s website and
days, and both had a performative action that was photographi-
then, using a clipping of their work creates a new image. The
cally recorded; one for each hour of the day. In one a catalog of
application can be run several times as it gathers the information
objects was collected and photographed, the image was subject-
in a random way so several compositions can be created from
ed to a computer virus written by Wille that degraded the image
a single artist. Warhol, Baldessari, and Banksy have been used
according to data collected from sensors worn while the objects
to date. Synesthesia is an application that allows the viewer to
were collected. The work is displayed with the degraded image,
perceive a painting with two senses, hearing and sight. A digital
the image of the object in its environment, and finally the object in
image of a painting fed into the program is translated into binary
a petri dish. In the other work a series of self portraits were taken
code one pixel at a time. This data is then played back to the
and then layered, various filters were applied, and finally twelve
viewer as a binary song.
images were printed on clear vinyl and adhered to plexiglass.
IN THE RESIDENCY January 2012
“Do something, be something, want something… I just want a sticky date pudding, thanks.”
TOM HOGAN, SCOTT SANDWICH
Australia
tommehhogan@gmail.com // www.tomhogan.com.au // Currently working and living in Sydney, Australia Tom Hogan is a musician and performance poet. He composes
He also mysteriously moonlights as a performance poet under
music for theatre and performance, with a focus on live perfor-
the name Scott Sandwich, telling fast-paced stories about the
mance and improvisation. When his mother was pregnant with
apocalypse, death and failed first dates. He was a finalist for the
him, she saw Led Zeppelin in concert; which is probably why
Australian National Poetry Slam in 2010, won the 2011 Woodford
classic rock makes him feel all warm and safe. In this sense, his
Festival Poetry Slam, and was a runner up in the 2011 Nimbin
exploration of lush and rich sounds acts as a rebellion against
Performance Poetry World.
the womb.
’KAIMA’ and ’THE KALEVALA (According To Scott Sandwich)’ While discovering the difficulties of playing my guitar outside in
During the residency, I also created the short film Shuffle, the
the winter chill (essentially impossible), I spent my time at Arteles
installation Your Music, My Way and the Quick Draw Maverick
finding new ways to present my music, experimenting with film
Gallery.
and installations. I would often turn to the works of previous
For my poetry works, I looked at a variety of ways in which the
artists of the residency for inspiration.
Finnish and English languages irreconcilably clash, creating a
Toying with field recordings and convolution reverbs, I discovered
number of small works based on this premise, and explored a
a whole range of sounds to apply to traditional harmonies and
variety of experimental forms and written works intended to be
instruments, and created a body of work using these new tones.
presented alongside music.
The new instruments were based on the unpredictable dynamics
Finally, I dove into the national epic poem, The Kalevala, premier-
of the forest and landscape, stretching notes and reverbs beyond
ing and performing my own rendition of it at the Apollo Live Club
recognisable sounds while still retaining organic and natural
in Helsinki, and created the short film The Kalevala (According
qualities. The music I created make up the album, Kaima.
To Scott Sandwich). The final text is represented as an installation at Arteles.
IN THE RESIDENCY January 2012
“Lens Based Artist”
LAURA CARLOTTA WRIGHT
United Kingdom | Portugal
lauracarlottawright@gmail.com // www.lauracarlotta.com // Currently working and living in London, UK I am a lens-based artist fascinated by the role which performance
This work is directly related to issues of femininity, time, space
plays within photography. Throughout the last two years I have
and the gaze. In these images not only is it an inner gaze, which
been producing images which should be viewed in sequence and
I inflict upon myself, but at the same time it is also a female
which over time have evolved into a series of carefully staged per-
gaze as I am a female photographer, I am both the ‘surveyor and
formance pieces. These improvisations are purely for the camera
the surveyed’. I turn the gaze back upon myself and explore the
and are to be viewed as still images recording an event which is
nature of woman as object and themes of identity and gender. I
already a memory.
have tried to use a delicate touch to ensure that the relationship to the feminine is positive and not just provocative and have intentionally staged these images to evoke the theatre. As I am unidentifiable my body is a symbolic ‘everywoman’.
HÄMÄRÄSTÄ When I first arrived at Arteles Creative Center, I was intrigued
the changing light become the backdrop for the scene played out
by the soft, diffused blue light that appeared early morning from
in front of my camera, the reaction of the subjects being left alone
daybreak to sunrise. The Finns call it aamuhämärä, it lasts for
revealed their inner thoughts and feelings, those that were in
about 20 minutes and it is created by the sun being below the
familiar territory appeared to find it strangely comforting, taking
horizon. This together with the Finnish Landscape became the
them back to childhood whilst those in an unfamiliar landscape
starting point for my new body of work.
where more hesitant and reacted less comfortably to their sur-
Landscapes, their character and quality, help define the self
roundings. Silence played a major role in this work; exaggerat-
image of a region, its sense of place, that which differentiates it
ing the reactions to aamuhämärä and the landscape, giving the
from other regions. It is the dynamic backdrop to people’s lives,
viewer a moment of contemplation and time to see what happens.
in the work I created during my Arteles residency the forest and
JESSICA MONTFORT
Australia
jessicamontfort@gmail.com // Currently working and living in Sydney, Australia Art is something I have always been interested in. I ended up
Until now I have mainly been interested in drawing, painting and
becoming a medical doctor, but decided I could combine the two!
photography, but I am hoping to extend myself beyond these
Iâ&#x20AC;&#x2122;m very new to the creative world and the more I discover the
realms...
more daunting and exciting it becomes.
IN THE RESIDENCY December 2011 During my time in Arteles I became incredibly inspired to try new
was mostly experimental, and I am still working on a few ideas
things. I tried to use the experience to gain insight and under-
at home.
stand more about the direction(s) I want to pursue. As I have very
Here is a link to the most meaningful piece of work I have done to
limited experience in Art, and this was my first Residency, I felt
date, created at Arteles December 2011:
like a sponge, soaking everything in, the people, the environment,
http://www.youtube.com/watch?v=PprT-N4Uyrg
the weather, everything... more so than trying to put pressure on myself to create a body of meaningful work. The work I did
HELENA HLADILOVĂ
CZech Republic
helenahladilova@gmail.com // helenahladilova.blogspot.com // Currently working and living in Turin, Italy Having observed reality, I basically react in two ways. Sometimes â&#x20AC;&#x201C; very often by chance â&#x20AC;&#x201C; I manage to record extraordinary situ-
are hidden which allow us to visualise what appears to us as fragmented.
ations which allow me to unblock mechanisms which until that
Sometimes when monitoring two distant entities, we happen
point had prevented their interpretation. Otherwise, I add a narra-
to note how they maintain their own individuality, concealing a
tive to an event which I believe suited to grasping, and I thus open
deeper relationship from us. Managing to observe detail in any
up to reflections which could not otherwise be explored through
moment, to remain in a constant state of analyticalactivity, is what
the image alone, providing a layer of exceptionality to the every-
someone in search of an alternative solution needs. I believe that
day. Within that which we take for granted, unexpected nuances
distinguishing is merely an act of faith.
IN THE RESIDENCY December 2011 Project 1:
Project 2:
The best of, 2011, 56 birds songs
School project, 2011, different materials, site specific dimensions.
The selection of birds located in Hameenkyro, Finland.
Using the ex school space like an art studio forced me to trans-
If you let the forest listen to these songs, maybe you will have
form it into an exhibition space.
more opportunities to see the local birds, The birds that will arrive will be the actors of my performance. Each time will be different and unpredictable.
“There is always success in courageous experiments; this is the essence of creativity.”
LUCY BAKER
UK
info@lucybakerart.com // www.lucybakerart.com // Currently working and living in Cardiff, UK I would identify as a mulit-disciplinary and environmental artist
part of our daily lives and is assigned to many tasks and is heav-
from Wales, UK. My current work focuses on contemporary envi-
ily managed. I see the decomposition and succession processes
ronmental issues and is inspired by the nature-culture dichoto-
facinating because it is a meeting place of nature and culture. The
my. In particular I have recently been producing work that por-
interplay between man and environment.
trays nature’s ability to reclaim human constructions. Nature is a
IN THE RESIDENCY December 2011 In Arteles, I created an installation with nest boxes; some found
time passed, I steadily grew less interested and impatient with the
and some new. The work is about nature tourism and my experi-
project. The final nest box was as I found it; unworked. I wanted
ence in Finland. In knowing that I was drawn to the country by its
to show the impulisve behaviour in human personality and the
relationship with nature, I couldnâ&#x20AC;&#x2122;t escape the feeling of being a
abandonedment of ideas. I then placed the boxes in the forest
tourist. Nature tourism is an important tool in rural development
after having documented them in a gallery setting to let nature
and provides income allowing people to continue living rurally.
take its cause and decompose the work. The work is unprotected
Arteles has its own role in rural development and this is what I
because I wanted to exhibit the transient quality of nature and its
focused on.
process of reclaim as shown in the two found nest boxes. With
I painted typical Scandinavian designs on the boxes and incor-
these, I undertook a typically human decision making process
porated local bird life as an informative aspect to my work. As
whilst painting, of when to leave a natural process and when to
I began the project with enthusiam, I included much detail. As
intervene.
â&#x20AC;&#x153; Thinking from the feet up.â&#x20AC;&#x153;
LAURA DONKERS
UK
laura.donkers.art@googlemail.com // www.earthebrides.co.uk // Currently working and living in Outer Hebrides, Scotland I am interested in the principle that awareness is the faculty of the
A site is chosen in the woodland interior. Engagement began
whole body not just the mind. I think we can be constrained by our
before a decision had been made. I build an easel and start the
increasingly encoded intellectually based lives and I want to show
work. The significance of the location is slowly unfolded. Free
how embodied thinking can expand our abilities to perceive and
drawing exploits intuitive processes and corporeal abilities that
imagine making the connections that weave into understanding.
comprehend the surface of things: The naĂŻve evidence that lies
Looking closely, following form and texture: tracing processes.
before us. These drawings engage with our natural intelligence.
Importance lies in the detail. Thinking alone cannot lead to know-
Whether drawing, video or planted works my art is about
ing it is only by placing oneself within the phenomenon that one
learning to look from the inside out and presents the wholeness
comes to fully comprehend.
of that experience through installations that confront and envelop the viewer.
IN THE RESIDENCY November 2011 I came to Arteles with a long term project in mind that considers
dampness, enclosure, mystery, silence kept me enthralled and
the act of â&#x20AC;&#x2DC;planting as drawingâ&#x20AC;&#x2122; viewed from a bio-cultural per-
drawings developed. Observation and documentation of the sur-
spective, i.e. exploring the dependency between culture and land,
rounding farms disclosed more of the landâ&#x20AC;&#x2122;s identity and its adap-
and the adaption of the natural to the human and how the human
tations. Rows of lines reveal where the plough evaded rocks or
inter adapts to the natural. By immersing myself in the adjacent
drainage channels and carved the contours of the land ready for
woodland and surrounding landscape through daily walks and
planting in the spring.
drawing sessions I developed an awareness of the locality. Its
I made a start but a month was too short!
“ Creative minds are rarely tidy.“
KATIE SHRINER
Australia
katieshriner@gmail.com // www.katieshriner.com // Currently working and living in New York , USA The contents of a home can communicate clues about its owner -
these everyday objects. Through her still life paintings we get a
through the choice of books stacked on shelves to the stationary
glimpse into what the artist sees and observes everyday.
kept in the top draw. Katie’s work aims to capture meaning behind
IN THE RESIDENCY November 2011 My work reintroduces the objects that once filled Arteles, when it
Each text reveals a little bit of history about the space too. Among
served as the local school.
reading books and school management guides sits, Nuorena
Built in 1902 the school was significant for the village - educating
Nukkunut, one of the most important novels from Nobel-prize
the children and introducing them to cultural hobbies, such as
winning author and school graduate Frans Emil Sillanpää.
playing music. There was also a library meant for the whole village, which was operational until the 1970’s.
Work 2 | ‘Finnish Song Birds’
The most recognized student, Frans Emil Sillanpää, was a Nobel-
Walk into the hallway of Arteles and you will see the piano stacked
prize winning writer, famed for the artistic way in which he
with music books, these were once used to teach the school chil-
described the Finnish lifestyle and their connection with nature.
dren how to sing. The birds, which sit perched on top, are created from music sheets which describe the Finnish landscape. From
Work 1 | ‘Library’
its time as a school to its current role as Arteles the relationship
These books were found in the attic and serve as a reminder of
between the building and nature has gone unchanged. “
the buildings history. The positing of the work, in frame of the doorway, mimics how these texts would have once sat stacked together in the school library.
“ Dissecting the future culture | creating provocative perspectives“
DINOS NIKOLAOU & CREATE AN ACCIDENT
Greece
contact@nikolaoudinos.com // nikolaoudinos.com & createanaccident.com // Currently working and living in Athens, Greece Dinos Nikolaou was born in Athens, Greece in 1983 and studied
Using the philosophical and sociological research as tools to
theatre at the University of Athens.
understand our era and its members and combining them with
He is the founder and the artistic director of the open platform
the demand for a nowadays art which edits the fundamental
Create an Accident.
issues of human existence, he produces artworks which aspire to
He works as a theatre director, visual artist, performer and
find and open provocative perspectives.
independent thinker and his main research objects are time and
Through this prism, his theoretical research and artistic practice
space by the use and combination of every possible medium and
focus on the pursuit of the non – assimilative. Guideline of this
material.
pursuit is the imaginary line which links Debord with Derrida and
The creation of artworks which are dissecting the human condi-
Virilio and their work about the creation of situations, incidents
tion, underlies the springboard of his work.
and accidents, respectively.
IN THE RESIDENCY November 2011 “GEOGRAPHIES III / Debord Geography
A non – performance and un – installation as a “thesis” into a
The Geographies, stage installations of landscapes and incidents,
diverse world.
are part of an on-going project whose fundamental aim is the cre-
A visit in a raw fun – fair.
ation of uncanny portraits. The Geographies Project is always in
Starting from Guy Debord’s face, an artwork which explores the
progress, and presents the audience with an attempt of mapping
possible existence of a Debordgeist nowadays along with its pro-
singular traces and a construction of strategies regarding that
spective effectiveness, is designed.
which has not take place yet.
An in-situ project @ Arteles Creative Center”
The 3rd part of The Geographies Project, Debord Geography, is the construction of a hybrid which combines the performance and visual arts with the essay.
“ Art is not about what you make, it’s about what you live!“
ANA GEZI
Croatia
ana.gezi30@gmail.com // caknutachajanka.blogspot.com // Currently working and living in Zagreb, Croatia Seven years ago I have graduated on Academy of Fine arts in
was working on in the residency. Some of the selected ideas I like
Zagreb, painting section, but despite to this my work has been
to do in colour, and those works always have the greatest percent
strongly defined by drawing skill the most. My nature of working
of my dreams or my fear/imagination interventions. Both ways
is consisting of connecting my memories, checking the present
were a great opportunity to me to firm my own social/political
time, than separation and visualisation of some clear future pos-
caricature style and to explore more of the narration in visual.
sibilities of object in my work. Usually I do it through my drawing
Because that was always the important content of my earlier
tehnique, because of the easiest approach and greatest speed of
cycles, even in those of landcape painting and hulligan portraits.
working, which I found very useful for my diary in pictures that I
IN THE RESIDENCY November 2011 My work in Haukijarvi has developed as a result of ‘planting’ some
with spontaneous and naughty humour for which I get many
of my homeland ideas on the completely new territory and that
ideas from completely usual situations in unusual and strange
case was here territory of finnish villages. My interest there was
ambient full of new people with their own habits. Some of these
vicious experiment with narrative and dreamlike in pictures, usu-
works have personal, some others have political conotations. But
ally made in pencil drawing and aquarell painting in free form of
genneraly viewed, art (sound and visual), nature, people, travel-
diary, which was conceiving simultaneously during my time spent
ling and passion were the center interests of my work here and I
in residency. I wanted to affirm and give more strength to my love
am very thankful to Arteles for helping me to ‘plant’ and ‘grow’
not only for comic-book style illustration, but also for caricature
my project in November.
“ It’s out of foam.“
BENTEN CLAY // VERA HOFMANN + SABINE SCHRÜNDER
Germany
goodnews@bentenclay.com // bentenclay.com // Currently working and living in Berlin, Germany Benten Clay is an newly founded artistic corporation run by art-
performance. Benten Clay’s approach oscillates between slight
ists Vera Hofmann and Sabine Schründer, with its headquarters
provocation, research, documentation and poetical discretion. Its
in Berlin. Benten Clay explores different aspects of power, inves-
methods embrace different roles within a societal system, playing
tigating socio-political and economical threats as well as envi-
within the ambiguous boundaries between them.
ronmental concerns using photography, video, installation and
IN THE RESIDENCY September + Octorber + 1/2 November 2011 ////// We founded Benten Clay. We had a lot of creative output. We
Benten Clayâ&#x20AC;&#x2122;s work in Arteles involved a local actor and two
built a website. We made a portfolio. We agreed on continuing as
neighbours, some wood and junk from the barn, four blue fishes,
a team. We will be a network. //////
a machine from the local second hand store and a lot of homemade yellow cake.
Benten Clay started to work on the long-term project Age of an End and focussed on the topics of Nuclear Waste and The Men-
Benten Clay Status Report:
tality of Power. One main focus of its work was the worldâ&#x20AC;&#x2122;s first
www.bentenclay.com/20111114_BentenClay_StatusReport.pdf
nuclear waste disposal site, located in Olkiluoto (130 km away from Arteles).
GWYNETH ANDERSON
USA
gwyneth.anderson@gmail.com // www.gwynethvzanderson.com // Currently working and living in Chicago, USA Primarily working with video and hand-made animation, Gwyneth
mative animation, and participatory public video shoots. She has
Anderson investigates emotion, perception, and the personifica-
screened and exhibited work in galleries, festivals, and unaffili-
tion of landscapes. She makes invisible experiences visible and
ated outdoor areas throughout Chicago and the midwestern USA;
conducts conversations between humans and land. Her work has
Tucson, USA; and Helsinki, Finland.
included site-specific video and animation screenings, perfor-
IN THE RESIDENCY October 2011 During her stay at Arteles, Gwyneth completed videos whose
and scratching landscapes as if made of skin. By focusing on the
intended audiences were a mossy rock, a gravel road, windblown
outdoors as audience, and concerning herself with what might
plants, and a horizon. While in Finland, she projected these vid-
entertain non-human organisms, she attempts to personify the
eos in front of their respective rural, non-human audience mem-
land. The works Gwyneth created at Arteles are not site-specific,
bers. For a Mossy Rock and For Windblown Plants created visual
but rather thing-specific- they were created with the intention
analogies between the forms and movements of people and the
of being presented in front of other mossy rocks, gravel roads,
outdoors. For a Gravel Road is an animated creation myth for
windblown plants, and horizons in other landscapes outside of
gravel, and For a Horizon is a video of a finger tracing, caressing,
Finland.
“ Yeah.“
EILIYAS ”NICHOLAS A. KELLY”
USA
Eiliyas@yahoo.com // www.eiliyas.com // Currently working and living in Berlin, Germany An artist that works primarily in sound and concepts. Interested
and what are the furthur consequences of these interactions as
in basically everything and how it interacts with everything else,
well as what were events leading up to the initial stated event.
IN THE RESIDENCY October 2011 The primary project “A Composition for Radio Quartet” was aimed
tion as well as a further critique of traditional forms of musical
at creating a composition that acted as a model of human interac-
composition.
GEMMA TWEEDIE
New Zealand
gemma.tweedie@gmail.com // gemmatweedie.blogspot.com // Currently working and living in New Zealand wide Gemma Tweedie combines video, performance and project based
encouragingly towards a future audience. Tweedie’s practice
work along with text and photography in her visual arts practice.
explores complexities of empowerment and resistance within
Past work has engaged with our attempts at common under-
dehumanising aspects of our everyday lived economies. Univer-
standing and explored intersecting roles of instruction, sugges-
sal and existential concerns are always linked in with actuality
tion and participation. Tweedie attempts to get close with the
as a manifestation of how people move within larger structures.
audience while demonstrating an enduring distance. She likes
At Arteles creative centre she began a series of works, exploring
this distance of contemplation and often performs blind. Having
what happens when myths of romanticism are uncovered by gritty
a physical barrier to mediate between the direct relationship of
reality and how people deal with the gap between their escape
the audience and artist in live art reflects the truth of our com-
fantasies and their daily struggles through a kind of poised but
munication; That we can never truly understand what we try to
futile way of moving without progress. Tweedie is interested in
communicate through language. Past work involves banal and
rubbing up against things that are uncomfortable “things that I’m
absurd, repeatedly performed actions. Tweedie has performed
drawn by and held back by.
actions such as clearing her throat continuously and smiling
Prospecting, a situational performance, 1am Helsinki, Ptarmigan and Arteles creative centre, 2011
IN THE RESIDENCY October 2011 Prospecting is a situational performance in two parts. The first
shaky shoes, digging away at the pavement with plastic spoons,
part is escape, trying to dig through concrete with plastic spoons,
people stop and comment, “Where are you trying to get to, the
the second part is moving without progress /getting nowhere,
other side of the world? You know it won’t work. All your spoons
dropping a spoon, to pick it up, only to drop another.
will be broken. Soon you will have nothing”.
The compromise of reality is all we know. There is no escape
Futility is not clear-cut or total. Plastic spoons are pragmatisms
except in the façade of our glittering fantasies. So we sabotage
of contemporary everyday survival, tools for eating. In the gold
our escape plans and dance the futility as best we can. Despera-
rushes of the 19th and 20th century, prospectors searched for a
tion is a feeling many people have underneath themselves or in
way out of poverty but rarely retired rich. Prospecting questions
small parts; To get away from it all, the cultural constructs, the
what we see as labour to include less apparent hyper-feminine
city, to get beneath everything and leave it all behind. Prospecting
forms. Contemporary gold diggers’ labour to create fantasies
deals with confinement of the open air, concrete barriers, which
from the compromised reality they live in, in order to escape into
are invisible but all encompassing. As she moves steadily on
better prospects.
“ Experience life as a stream of sounds.“
MUSIC FOR INSTALLATIONS / LOUNASAN / PIETER GYSELINCK
Belgium
mfi@musicforinstallations.com // www.musicforinstallations.com // Currently working and living in Belgium Music For Installations (soundscapes, experimental, drones)
project tries to send out impressions to the listener. The main goal
and Lounasan (ambient music) is about experiencing. Life is a
is the listening experience and the sound adventure. The music
stream of sounds. Capturing that flow, is looking for answers. By
has been used on several exhibitions and locations throughout
observing the surroundings, by experiences, I try to make music.
the world. It’s not only the form that counts, but also the emo-
The studio can be anywhere. The collision of vibrations lead into
tional response, wheter positive or negative.
soundscapes and drones which can be used in empty spaces, dark
Lounasan is mind travel music. It’s about travelling without mov-
rooms, or to accompany installations. It’s an impression sent out
ing! The music makes your mind move into a musical trip into the
to catch a listeners ear. He/she can only experience and reflect on
cosmos. The music is available on-line as full albums and has
what he felt or saw.
been regarded as very ‘filmic’ by reviewers. Enthousiastic fellow
Music For Installations seeks out more the experiment. Differ-
dreamers are fond of the ambient soundscapes that are created
ent sounds meeting each other, creating a sonic scape. These are
and the more note-based songs that emerge. Thanks to the avail-
then refined, just like you would do while create a sculpture. The
ablity of webshops, I can spread the music into the world.
LISTEN TO ARTELES SOUNDSCAP ES CLICK HERE
IN THE RESIDENCY Ootober 2011 The main goal at Arteles was the creation of a cycle with music
scapes into music and sound, we were able to set out a full cycle
that varies from experimental soundscapes to ambient music.
with sonic expressions.
Every day a new piece of music was conceived and worked out.
The 31 pieces will be finalized into two albums. The title will be
This work resulted in a 31-day musical cycle. The great Finn-
logically ‘Haukijärvi’, the location where the music has been real-
ish outdoor is everywhere around Arteles. By moving into it, you
ized. These will be put available online on the main mp3-shops on
experience the landscapes and sceneries. The local grounds,
the internet. An extra third bonus album, which will recycle the
full of melancholy and the slowly moving views which dance in
original material into a slow ambient album, will be created at the
a monotonous ballet, are very influentual. They are used as focal
end of the whole process.
points into the creative process.
Thanks to the residency at Arteles, we were able to develop a way
Back at the music table, these impressions are the source of
to paint the land with music. It is then to the listener to step into it
inspiration for creating the sound pieces. By translating the land-
and travel along and experience the music.
CAROLINA TRIGO
ARGENTINA
caro@thisother.com // www.thisother.com // Currently working and living in Finland, here and there My work infiltrates the spaces between femininity and masculinity, participation and otherness. I am interested in performative bodies that leak and coagulate in arousal and erasure.
Photos by: Sabine Schründer and Vera Hofmann
Untitled, 2011 / Performance piece part of Perfo! festival at Telakalla, Tampere, october 18th
IN THE RESIDENCY August - September - Onwards 2011 So far i have participated in two performance festivals and have
and sensibility. I am particularly grateful for how it has enabled
also collaborated on some video and photography pieces. Being
me to form affinities between fellow artists—both local and inter-
at Arteles has enabled me not only to discover Finland but also
national—who continue to inspire me and with whom I share a
what comes with it: its people, its sense of nature, space, culture
very genuine warmth.
“ DO WORK!!!“
MIKE KOFTINOW
USA
koftinow@seawolf.sonoma.edu // Currently working and living in California, USA My approach to making work is that there are too many big topics
way the works are presented is a discussion on contemporary
that can’t be ignored. Therefore my art objects are about society
life and current affairs. Topics like water, environment, economy,
and sustainability. I combine a variety of media such as; draw-
waste and abuses of power fluctuate with a cast of characters
ing, painting, print, sculpture and installation, to create imagery
that range from popes and presidents to peasants and paupers.
that have a topical narrative to it. The imagery I choose and the
IN THE RESIDENCY September 2011 Made work with a political bite to it.
“ Look behind. Look for the (Hi)story.“
BÉRÉNICE SCHRAMM
France
berenice.schramm@gmail.com // Currently working and living in Geneva, Switzerland Thie first I could say about myself is maybe the least telling: I am
other(s), be it a thing or a being). The art work I have recently
a PhD 3rd year in international law. My thesis is on the cognitive
embarked on is therefore linked to this and emphasizes the link
mechanism of legal fiction, its uses in jurisprudence and how it
between object and identity and the idea of image/prejudices.
tells us about the law as a powerful and creative discourse on the
Taking pictures is quite a hobby of mine (however limited in time
world. In short, I do philosophy and epistemology of (internation-
and in equipment) because it’s another way of interpreting the
al) law but in large, I am interested by anything that helps decon-
world and sharing it with others. Buying, owning and wearing cre-
struct truthes and realities and revealing standpoints, stances
ative pieces of fashion as well in that it is also another way (rather
and cognitive and cultural limitations, be it feminism, marxism,
frivolous) to tell stories with yourself and the piece’s creator. And
cultural relativism, anthropology etc. The key theme for me, i.e.
last but not least, eating (and cooking) is really important to me:
what I am mainly interested in, in law and in art, is interpretation
food as a way to discover a culture, an environment, people and
as the channel through which we (or I) relate to the world (or the
sharing knowledge and feelings, and just feel orgamiscally good.
IN THE RESIDENCY August - September 2011 The photo installation I created in Arteles originates in a random
my installation consists in the displaying of those 8 different
visit to a second-hand shop in Hämeenkyrö, the city nearby the
arrangements and the (un)conscious comparison that their jux-
Residency. In this shop, things to sell are displayed by owners (in
taposition leads to. The first stage of the series I want to develop
individual stalls) and not by categories: the juxtaposition of identi-
and entitled « Control of Identity », this « Arteles Whose Who »
ties (or stories that I could tell myself about the owners through
is one way to explore the relationship between objects and peo-
their objects) visually stroke me. With my piece, I tried to set off
ple inasmuch as your personnal background (i.e. your identity)
the same reaction in the audience’s eyes. Using a simple pine-
informs and influences how you see and manipulate objects, and
wood garage shelf (mimicking the stall in the shop), I asked 7
hence shows out in the objects’ arrangement as a sort of modern,
artists of the Residency to arrange the same objects in the man-
kitsh and recycled Arcimboldo’s portraiture.
ner they liked (and did it myself) and photographed the results:
HYEKYONG YUN
South Korea
hyekyong.yun@gmail.com // www.hknalda.com // Currently working and living in Montreal, Canada The foundation of my practice is photographic portraiture. At the
performative capacity of the body in motion. I use photography as
same time, I am interested in performance as an art form. There-
a means of capturing a moment that embodies an entire perfor-
fore, in my artistic practice, I always use the body as an object in
mance. While documentary photography is a means of document-
the image and look for the relationship between the performance
ing a previous event, my method of using photography is differ-
and photography. My personal history memory go through the
ent because my image is the event. Going beyond the time and
body shape and movements, and results in the performance. The
space pragmatic presented by the medium, my work adds a tem-
image of the performance presents the personal history of the
poral and spatial relationship between the external gesture and
subject and allows objective introspection.
the internal memory of the artist by presenting the link between
Also, my artistic practice uses temporalization and spatializa-
the body and the fixed image in the specific context of mnemonic
tion. It creates a connection between the fixed, still image and the
actions.
IN THE RESIDENCY September 2011 When I walk on the street near Arteles, there is only Finnish peo-
Hair costume represents internal ‘memory’ because hair can
ple and I feel so ‘other’. Being otherness is not a pleasant feeling.
store memory and examine personality through then. And with
I feel lonely again and so strange as well that I often felt same in
hair, I perform with people around, so it can be external gesture.
Canada as an Asian girl. To overcome this, I started project called,
At first, it was difficult to be ‘other’ but later I found it is me to
‘other(ness)’. I become a hairy stranger and start taking pictures
feel ‘otherness’, not people. So this project is about not only an
with people around here.
exploration of my research but also psychological approach to look inside of myself.
“ Once you start, the best thing is going to be happened by itself.” (favorite citation of Hermann Hesse)
HYOJUNG JUNG
South Korea
hyojung5925@gmail.com // www.longdistance-dialogue.blogspot.com // Currently working and living in Daegu, South Korea I do drawings with pencil on papers, paintings on canvas with oil
Motivation for my works usually comes from a certain moment
pastel in general and photographing, writing short text occasion-
(physical and mental) of an individual’s personal life. And I wish
ally. And I am very interested in doing some sort of sound work
the result of my works could transform to something else from
in the near future. Because voice and sound motivate me quite
my beginning of idea by the audiences. I wish it become unknown
often.
thing even for me when I have finished it.
IN THE RESIDENCY August - September 2011 I have been working on two different spaces which are sharing a
The correspondence draws a volumed living organic form.It is
body as a neural object. The body, it makes relation and makes
heading for a certain direction, has certain weight, has certain
boundary at the same time between the two spaces ; the interior
form.And it is fluid, rhythmical sometimes, seems volumed but
space and the exterior space. In the place apart from people and
light, visible but we can see nothing specifically, empty and trans-
objects in a room, a hollow empty space leads correspondence of
parent exterior space.
two spaces.
MONTANA MCTORREY
USA
montanatorrey@gmail.com // www.montanatorrey.com // Currently working and living in TN, USA Montana Torrey employs the landscape as a metaphorical tool
concept of site-specificity by documenting, altering and suggest-
to dissect cultural dichotomies within the public and domestic
ing a new understanding of place. Torrey attended Skowhegan
spheres. She received her BFA from The School of the Art Insti-
School of Painting and Sculpture in 2006, and has exhibited her
tute of Chicago in 2003, and her MFA from The University of North
work at such places as A/Z West High Desert Test Sites, Ackland
Carolina at Chapel Hill in 2007. Her multi-disciplinary work,
Art Museum, Fayetteville Art Museum, and Center for Art and
which includes outdoor installations, photography, painting and
Culture in Aix-en-Provence, France. Torrey has also participated
sculpture, investigates the relationships between cultural con-
in several residencies including Headlands Center for the Arts,
structs and physical sites, deconstructing and problematizing a
Catwalk Residency and, in 2009, and the Vermont Studio Center.
myriad of concepts including binaries such a protection/paranoia,
Torrey was born in Virginia in 1982 and she currently lives and
sites of containment and the idea of literality. Torrey utilizes the
works in western Tennessee.
IN THE RESIDENCY August 2011 While at Arteles, I chose to focus on synthesizing language, politi-
landscape. Being completely removed from this language and
cal borders, and signs of economic disparity. The collision of my
immersed in a new language (Finnish). I was dependent upon my
immediate environment in Finland and memory of a past land-
most recent place of reference that being the economic signage:
scape became the crux of my “We Buy Gold”” project. My mem-
“We Buy Gold”, “Fast Cash’, “Cash4You”, “Fast Loans”, etc. I am
ories of the landscape in West TN prior to arriving at Arteles,
interested in the immediacy of this public language and it’s need
were of a landscape populated with public signage referencing
to “remedy” personal problems. I decided to literally place this
quick, but dangerous modes of acquiring “fast-cash” and allevi-
language within my immediate enviroment in Finland where I
ating one’s own economic/personal doom. This collision of both
could not understand the language in an attempt to isolate, dislo-
public and private humiliation desperation, and personal doom,
cate, and reinterpret the signage of West TN.
is present in the signage that heavily populates of the West TN
“ ART IS 4 HOTTIES. ”
THE MOTEL SISTERS
Naomicampbelltown, Australia
motelsisters@hotmail.com // www.motelsisters.com // Currently working and living in Parramatta, NSW, Australia PARIS AN TACKY MOTEL (AKA TEH MOTEL SISTERS) R EXTREME-
UM OV CHOICE AS ARTISTS, AS WELL AS PANTENE PRO V. PARIS
LY FAMOUS AN WELL-REGARDD ARTISTS FRUM TEH WESTERN
AN TACKY ALSO PAINT (THEIR NAILS) AN JUZ LUV 2 CREATE
SUBURBS OV NSW, AUSTRALIA. SOSHUL MEDIA IZ THAR MEDI-
(MEMEZ).
IN THE RESIDENCY July 2011 AT ARTELEZ WE TOOK LOT OV FOTOS AN VIDEOS OV OUR-
WE KAREOKD AN DANCD AT TEH LOCAL BAR FEW TIEMS (WELL-
SELVEZ CUZ WE LOOKD SO FINE. WE ALSO INTER-
DOCUMENTD) AN MADE AN AMAZNG GUEST-STAR APPEAR-
VIEWD SUM OV TEH ART AN MUSIC SUPERSTARS DAT
ANCE AT P!G TING.
WUZ STAYIN AS RESIDENTS (CHEX DA INTERVIEWZ OUT @ WWW.YOUTUBE.COM/MOTELSISTERS).
KELLY MONICO
USA
kellymonico@gmail.com // www.kellymonico.com // Currently working and living in Denver, CO, USA Kelly Monico is a visual artist and designer who creates site-spe-
drawn on the use of repetitive gestures, actions and patterning,
cific video installations. She often rearranges ordinary materials,
as a metaphorical means that study human behavior. Monico cur-
physically or digitally, in order to explore notions of individual
rently teaches design and digital media at Metropolitan State Col-
identity, subjectivity, and the inherent value implied by a gesture
lege of Denver as an Assistant Professor of Art in Colorado.
or act of intervention. The majority of her creative projects have
IN THE RESIDENCY July 2011 During my time at Arteles Creative Centre, I had the opportuni-
compiled, I designed specific pictograms (usually depicting ele-
ty to study various culturally specific signs and symbols within
ments of nature), which visually translate the root and suffix of
the country. In conjunction with researching the semiotics of
each Finnish surname. The video â&#x20AC;&#x153;Behind the Nameâ&#x20AC;? explores the
the cultural and geographical landscape, I interviewed over 100
inner fabric of the Finnish people, illustrates familial origins, and
Finnish people. Based on my research and the video footage I
depicts Finnish naming trends over the last century.
SHARI PIERCE
USA
info@sharipierce.com // www.sharipierce.com // Currently working and living in Munich, Germany I am a contemporary visual artist and in general the opposition of high and low, value and waste, beauty and terror seems to run through my work.
IN THE RESIDENCY July 2011 In April of 2011, I had a solo exhibition in Munich, Germany of
new work with photographs from the Missing Persons database.
300 convicted sexual offenders from within a 5 mile radius. The
The photos are mostly of endangered runaways and missing
photographs documented convicted sex offenders from the areas
teenage girls. Additionally, some unexpected collaborations hap-
that I traveled to within the US from December- March 2011. I
pened with the other artists that were also AIRâ&#x20AC;&#x2122;s for the month of
used the time at Arteles to reflect on this work as well as She
July 2011.
LL Project that I started in 2009. At the same time I started a
PAOLA RICCI
Italy
paolaricci@aliceposta.it // /www.paolaricci.com, www.saatchionline.com/profiles/index/id/219371 // Currently living in Venice, Italy
The Greek meteorology seeks rather to describe the more uncer-
An artist whose soul is the mass of the sculpture
tain movements of the air, in an attempt to explain the rarefac-
1. Knowledge passes through sensitive knowledge. A first aspect
tion of the bodies and the big difference between solid bodies, the
on which knowledge is sensitive knowledge. The space is normal-
material and what delicately approaches the blowing of the wind
ly seen as full, but in the empty space we perceive the sensitive
to the inexistent.
space.
They seek with the imagination what is hidden in the worldâ&#x20AC;&#x2122;s naturalness, that is, how the presence of the latter is both character-
2. The space is virtually empty, endless and grows in size. Then
istic and fleeting at the same time.
universes holding the space are created. I have worked to let us
We know that for some pre-Socratics the soul corresponds nec-
hear the space as empty and the eye to see a succession of dots
essarily to the experience of a body whose matter is so ethereal
and lines that float in the air, our sensitive part individualizes and
that its explanation can only be compared to the air.
projects them in the air as projective space. So our eye is like a
The breath is the last thing to leave the body.
point in space and everything that it intersects becomes some-
For the Greeks, there was clearly a close relationship between
thing that adds tocreating other sensitive lines.
the air, the void and the infinite, either because the soul was regarded as a particle so ethereal that it evaporated at death, or
3. The sculpture becomes an opportunity to draw the air or the
simply because the air until the horizon represented seeing as far
empty space. The line marks the boundary between the different
as the eye could see.
meanings, marking what the view does not always see, marks
These things are best understood if we think of art as still occupy-
what is beyond the marked area. The line becomes mass and it
ing the edges and that its utterances, because they lean towards
draws the territory by which it is surrounded. Thus the overlap of
the eccentric, supply clues to what is hidden.
different lines creates the mass that marks the space that you see
The Occidental culture considers the world as a whole of objects,
if the drawing of the line were there.
instead Chinese thought considers the world as a emanation of a vital breath, of an energy (qi) that develops on different plains of condensation, more or less visible : the rock is (qi) concentrated, the cloud is (qi) rarefied.
IN THE RESIDENCY June 2011 Capovolto, 2011
The opposites coexist in harmony, and the polarities are spoken:
My research is directed toward elements of nature that pose
full and empty / dense and rarefied / regular and irregular
questions of Western man that he hardly looks.
light and dark / erect and droping
The air around us is something that occupies a physical space is
So the outside space of Center Arteles spoke to me and I tried to
not visible that the Western man recognizes it as a void-absence,
give it voice.
and instead I recognize as emptiness of essence of full , “emana-
The two distant space of land are marked by pieces of tree trunk
tion of life”, the our moving body moves the air and occupies the
placed on the boundary line between them. In an area the pieces
emptiness in which he enters and it exists invisible.
of tree trunk are white , because they are covered of white paper
What I did was work on the bordline between drawing and sculp-
and in the other space are colored on top and on the edge of the
ture, between the sign and the volume, of the track left and air
red earth.
moved.
There are two areas where the elements of color and formal, they
I wanted to work on the edge of the immaterial as if what I made
speak differently in the space where the fullness surround the
is not an object, the sculpture is a means to move the air around
emptiness, and the other is the emptiness is in the fullness. To be
it rather than build an actual object.
at different distances in the vision slowly turn around to look for
The drawing and sculpture for me to move the space in which we
spaces without leaving an objectification, but that empathy is the
appear and so I want that my art work may lead the viewer to feel
way of the vision to see.
like seeing the artwork not as much as what he sees.
The relations of opposition and complementarity of the elements
I thought at this residence, where the landscape around me also
are also present in the work titled “Upside Down” inside the Gal-
the distances from the centers acquired yearly become an artistic
lery of Center, the trunk of the tree looks like polarity as tension
experience to be done on foot.
of image and surge of dense and often essential to achieve the
Being on the bordline of a search is like to be doing what that it
image that has no form. Where the air that moves the tree does
allows to be within the limits, nature is the subject no longer be
not feel stuck to the ground, but as a continuous movement that
described because it has no boundaries.
it swings in its fragility and how it upside down, where the light is
Walking in these valleys that surround the center Arteles what
at the bottom and the top is heavy. The aesthetic nature of being
I felt strongly about is that the space and emptiness and full-
able to contain the opposites and contradictions to give a strong
ness are constantly in direct communication without interruption.
image that comes to cancel the form.
TREVOR AMERY
USA
Trevor.Amery@gmail.com // www.Trevor-Amery.com, www.UNDERWOODstudio.blogspot.com // Currently working & living in Baltimore, USA
I make artwork in multiple mediums exploring themes of tradi-
connect with new communities, develop new ways of thinking and
tion, ritual, social structure, interior vs. exterior and the tran-
to react to my experiences and surroundings.
sience of space in different cultures. I use my art as a means to
IN THE RESIDENCY June - July 2011 I spent two months at Arteles creating site-specific woodpile
aspect of Finnish life from traditional folklore to contemporary
sculptures investigating how the sparseness of the countryside
issues of self preservation. My experience at Arteles has brought
has influenced Finnish social structure. I chose to focus on the
my attention to how we use space, how we relate to objects, and
concept of the woodpile because of its importance not only as a
how I can use my work as a vehicle to build relationships with
raw material to Finland, but because of how it has infiltrated every
individuals, communities, and cultures.
KATHRYN ZAZENSKI
USA
kathryn.zazenski@gmail.com // www.kathrynzazenski.com/ // Currently working & living in Baltimore, USA
I am obsessed with words and language, and how they are a
of abstract thought in reaction to the information that becomes
reflection of our personal and geographical histories. I am inter-
our experience of people and place. What is the structure of our
ested in how culture and language, both together and inde-
lives based on? What are the systems that we live by and why?
pendently, influence the way we physically and psychologically
How do they work, why do they work, and what, if any are our
maneuver through the world. I am interested in how and why we
alternatives? My work is a reaction to the questions that develop
build relationships and how that relates to our need for system-
from the people I meet, the places I inhabit, and how I understand
atization and categorization. I play with concrete representations
and navigate these physical and emotional relationships.
IN THE RESIDENCY June - July 2011 While at Arteles I spent most of my time developing a system
With this work I am exploring how we understand ourselves in the
from which I plot words and from this created abstract line draw-
context of others, and the modes of expression we use to com-
ings. Taking one form of abstraction and creating another; I rear-
municate these relationships.
ranged and re-definined the rules for our alphabetic symbols.
PILAR MATA DUPONT
Australia
pilarmatadupont@yahoo.com.au // www.pilarmatadupont.com // Currently working and living in Perth, Australia Pilar Mata Dupont is a Western Australian based artist, born to
collaborator, Tarryn Gill, won the prestigious Basil Sellers Art
Argentinean immigrant parents, who works solo and in collab-
Prize in Melbourne, Australia.
orative practices spanning photography, film and performance.
In her solo practice Pilar Mata Dupont is interested in re-creat-
She has exhibited in the UK, Japan, Chile, France and Australia
ing or re-imagining memories or histories based on fragments
and her work has been shown in galleries like Centre Pompidou,
of texts, photographs or peoplesâ&#x20AC;&#x2122; stories; exploring how memory
Paris; The Gallery of Modern Art, Brisbane; The Museum of Con-
can be warped, disfigured or glorified. She also investigates ideas
temporary Art, Sydney and in shows such as the 17th Biennale
of fear, loss and obsession in the context of traditional fairytales,
of Sydney and Art Basel, Miami. In 2010 Mata Dupont and her oft
folk stories and philosophies from around the globe.
IN THE RESIDENCY June 2011 Pilar Mata Dupont, began work on what will be a triptych of films
movement and lyrics through an adaptation of The Kalevala, the
about the ‘kaiho’ (Finland’s version of ‘saudade’) while at Arteles.
Finnish national epic, and related it to a story relayed to the artist
She shot her first scene of the film in the forest behind Arteles
by an elderly man about how he lost his wife. She plans to return
with two actors from Tampere. This scene explored Finnish tango
to Finland soon for a longer stretch to complete the work.
“ Car crashes is what has to happen “
HÉLÈNE BARIL
France
contact.helenebaril@gmail.com // www.helenebaril.blogspot.com // Currently working and living in Paris, France Hélène Baril was born in 1978. She started devoting herself to
be a tool that serves her sabotage of reality’s undertaking. The
art after quitting french National Education and studying litera-
recurrent racing cars appearing in her drawings are the vehicle of
ture. Her work intend to fix painting in both an ordinary and alter-
some kind of new Don Quixote. It is a way of creating a fiction that
nate reality. She sees herself as a housepainter so painting can
brings up to stage search of absolute and ludicrous disillusion.
IN THE RESIDENCY June - July 2011 The painting project in Arteles has both been a basic and big com-
worker? Words and categories. During the month of june, I have
mitment, being at the same time in the body of what we call an
been repainting the Arteles residency barn. With the agreement
artist and what we call a worker. A painter and a housepainter.
of the Arteles crew and after proposing them sketches, I started
The interesting thing about it was to discover there is no border
repainting the barn with the colors that I recurrently use. The pro-
between the act of art and the act of work. What makes the dif-
cess was similar in july when painting the Arteles hallway. I have
ference between the two status is nothing but words. What cre-
been the Arteles housepainter for two summer months, assum-
ates the difference between assuming oneself as an artist or as a
ing myself as an artist.
“ Travis’ signature yielded extremely high scores on Arteles’ “Käsiala-analyysi” machine. “
TRAVIS JANSSEN
USA
travisjanssen@gmail.com // www.travisjanssen.com // Currently working and living in USA MFA, Arizona State University
collaborated with a variety of individuals on a diverse range of
BFA, University of Wisconsin, Madison
projects including prints and documentary videos. Conceptually, Janssen’s work often addresses the public and private acknowl-
Travis Janssen’s creative practice often focuses on contemporary
edgments of presence and issues of meditation and distraction
and historic methods of printmaking as well as forays into video
within visual and auditory experiences in contemporary culture.
and installation art mediums. His interests also extend into the
Currently his research is based out of Carbondale, Illinois where
collaborative process and cross-disciplinary investigation, having
he teaches printmaking and 2-D foundations at Southern Illinois University. He also likes root beer.
IN THE RESIDENCY June 2011 Janssen participated in a number of projects and collaborations
were allowed to place themselves between multiple bodies of
throughout his stay at Arteles. The onus of Janssen’s residency
reflective foil “water,” often craning their necks and twisting their
was placed on a two-channel video and sound installation. Within
bodies to attempt viewing both videos at once, while encounter-
multiple spaces Travis recreated the Sun and the Moon, as well
ing a panoply of sound from both visual components. Within this
as the Milky Way galaxy. The bulk of his installation, entitled “Was
environment, viewers constructed narratives and meanings from
that really there? I thought so.” experimented with alternative
a diversity of moving images and dramatic sounds from various
methods of viewing and listening practices and the questioning of
environments and moments depicted from a broad cross-section
perception and experience. Two videos were projected on oppos-
of Finnish landscapes, architectures, and culture, both private
ing walls, diagonally presented, in order that they could both be
and public.
viewed in alternating and highly personalized fashions. Viewers
GEORGIA ELROD
New York, USA
georgialeee@gmail.com // www.georgiaelrod.com // Currently working and living in New York City, USA I work from an on-going collection of imagined imagery; I make
unsettling sort of “in-between”; my work is purposely suggestive.
many drawings and the ones that resonate to me become paint-
Shifting planes of color, translucency, cropping and light are all
ings. A loose concept serves as the starting point for my recent
visual factors in my work. Addressing simultaneity and dualities,
work: they are portraiture of unidentified characters, machines,
I’m interested in the tension that lies between the beautiful and
and weird objects. The images I paint seem functional or bodily
humorous, the elegant and the awkward.
but cannot easily be named. I attempt to revere and depict a quiet,
Milk Maid (Study) oil and pastel on paper, 16” x 24”, 2011
Untitled Installation sticks, tinsel, toilet paper, fabric, 2011
IN THE RESIDENCY May 2011 I made several paintings on paper and canvas. I also completed
(art talks on a raft) and in the “Rounder/Kiertelija” postcard proj-
a temporary installation in the basement and experimented with
ect.
some video work. Collaboratively I participated in “Lautta Klatch”
“Not to know where we are is frightening and not having a sense of place is highly unpleasant.“
JAN VERBRUGGEN
Belgium
janverbruggen@gmail.com // www.janverbruggen.be // Currently working and living in Brussels, Belgium Jan Verbruggen (-1980, Humbeek) works and lives in Brussels
evolution: In the past he organized several successful exhibition
since 2004 where he started a project based on orientation in
platforms under which
contemporary society. He creates paintings but his work often
during 2005, 2006 and 2007. Beginning 2009 (until March 2010)
emerges away from the canvas towards the creation of works
he, together with Ischa Tallieu (Gallery Fortlaan17), launched
on paper or texts, installations and video pieces. JV assembles
“Zennestraat 17”, a large scale project space in the heart of Brus-
images that are dealing with the juxtapositions and distortions we
sels. In the recent past Jan Verbruggen organized together with
retrieve within reality. His pictures are full of sudden twists and
Christophe Floré, Korneel Devillé and Francis Denys, the Brus-
deconstructions, often with a disordering effect to its viewers. He
sels based SECONDroom / moorDNOCES shows. He was also
deliberately wants to confront his audience with our often schizo-
offered the first solo show at “Vienna International Apartment”.
phrenic world and the misleading aspects of space and time.For
At the moment Jan Verbruggen is setting up the project “NOMAD,
JV the pictorial space of the artwork should be prolonged towards
The Deconstruction of place” in collaboration with ARTELES
the actual space of a studio or exhibition space. By this means, for
creative centre (FL), IONION Centre of the Arts and Culture (GR),
JV the extension of artist practice to a more curatorial is a logic
Bamboo Curtain Studio (TW)
the first “Actionfield” expositions
“NOMAD, The Deconstruction of Place” presentation @ Arteles CreativeCentre, Haukijarvi, Finland
“NOMAD, The Deconstruction of Place” on display @ Gallery Fortlaan 17, Gent, Belgium
IN THE RESIDENCY May 2011 I recently started collaborating with my brother (Karel Verbrug-
social, economic, topographic, cultural map of the locality.
gen, nuclear engineer). These activities (new for the both of us)
NOMAD tempts towards a temporary prolongation of a place. It
are the outcome of the interventions we performed during May
adds a meta-layer to the constellation of the locality. NOMAD
2011 in the landscapes surrounding Tampere, Finland and are
(its form and function) changes each time its location changes
covered under the project entitled “NOMAD, The Deconstruction
and generates interplay with the locality where it appears. The
of place.
word “deconstruction” that we retrieve in the title refers to the
NOMAD is an installation project which intercedes with the site
process of exploring the categories and concepts that tradition
specific elements of form and function found on a locality. Such a
has imposed on a word, and the history behind them1. We are
locality becomes a “home” for the installation for a limited period
interested in an actual understanding of the meaning of the word
of time. The NOMAD installation travels with us on our journeys.
“place”.
Where we stop, the installation starts to inoculate on the existing
KAREL VERBRUGGEN kaverbruggen@gmail.com //
Belgium
// Currently working and living in Brussels, Belgium
Karel Verbruggen is trained as an electromechanical engineer
and nuclear power plants. Recently he decided to quit his job in
and has been working in the fields of waterways (bridges, locks,...)
order to find out how to get more out of life.
IN THE RESIDENCY May - June 2011 Initially I came to Arteles to assist my brother Jan with the
june we started a renewable energy project at Arteles. The pur-
“NOMAD , The deconstruction of space” project. During the resi-
pose of this project is to make the technologies, used for renew-
dency I got involved in the “We <3 Instutions” symposium where
able energy “production”, more accessible to the public. This
themes like collectivism, community and the role of the individual
project is still ongoing.
relative to the Institutions were discussed. During the month of
“ Specialization = limitation “
KARIN HODGIN JONES
USA
karinhodgin@gmail.com // www.karinhodginjones.com // Currently working and living in Washington DC Metro, USA Karin Hodgin Jones was raised in Zionsville, Indiana, a densely
Reconciling the difference between existing equally but separate-
wooded agricultural community that was absorbed and subur-
ly in those two worlds cultivated an interest in examining what
banized by the sprawl of Indianapolis during her adolescence.
connects the two sides of a polemic. Identifying and elaborat-
She divided her time between roaming the wilderness around
ing the lines that bind, mediate, moderate or transition between
her family’s modest farm and exploring the advanced technolo-
opposites remains the central interest in her research and
gies available in the classroom of her affluent suburban school.
projects.
IN THE RESIDENCY March - May 2011 â&#x20AC;&#x153;The most significant work I did during my 3 months at Arteles
The talk took place on a nearby lake on a raft constructed by the
was a collaborative experiment called Lautta Klatch (raft talk).
Verbruggen Brothers of Belgium on May 28. Through conversa-
The project began from a series of conversations in April and May
tions about Collectivism, community, funding structures, societal
2011. Below is an excerpt of the formal invitation from Karin Hod-
values and empathy, we engaged in about an hour and a half con-
gin Jones to guests for the Lautta Klatch:
versation on the lake. Why the lake? We sought to explore how
Pekka Ruuska, Jan Verbruggen and I organized a sort of sympo-
physical labor or an environment like a raft creates a physical
sium for the end of May. We are invited artists, lawyers, educa-
empathy between people that opens up new and different dia-
tors and public officials to attend. People from a variety of fields
logues than may be had during a lecture or in a classroom envi-
and experiences came to Arteles for a Lautta Klatch (Raft talk).
ronment. â&#x20AC;&#x153;
â&#x20AC;&#x153; Slowly but surely unifying the powers of the macro and microcosms through the power of observation â&#x20AC;&#x153;
ARIEL MITCHELL
Providence, RI, USA
arielldm@gmail.com // www.arielmitchell.com // Currently working and living in San Diego, CA, USA I make work that starts with a feeling, and ends with a painting. In
collage, sometimes drawing and a sculpture. The feelings range
between, it becomes a costume, a performance, documentation,
from escapism, being lost, knowing, fear.
IN THE RESIDENCY April 2011 My stay at Arteles was transformative, and literally set me on the path I am today. I was able to make the step from object to nonobject.
“ Live fast, die young, and leave clean underwear! “
MATT SHERIDAN
New York, USA
mcsheridan1@gmail.com // www.msheridanstudio.com // Currently working and living in Los Angeles, CA, USA I see abstraction as an agent of change. My animation instal-
The lack in my animations and sound pinpoints particular desires
lations placed in architecture are designed to be catalysts
by their absence. This opens spaces for original, individualistic
toward change.
thought as viewers’ instinct and intuition kick in as they navigate
Unpacking compressed information set into
motion within a location highlights lack, as compression is lossy.
abstractions in motion which face and/or surround them.
IN THE RESIDENCY March - April 2011 I began two animations at Arteles: one a single channel abstract
in domestic space with pre-fabricated/completed animations.
loop and the other a four channel installation work about the
There were also artist presentations and talks in which I publicly
affect of love triangles upon social space. During my time there
re-evaluated aspects of my previous work.
I also experimented with and documented installation strategies
ANNA DUVOVICH
Montréal, Canada
anne.ma.dumouchel@gmail.com // www.annaduvovich.com // Currently working and living in Montréal, Qc, Canada The industrial simulation of femininity, human communication
sense of losing self-control and a celebration of the contempo-
and the notion of failure are major themes in my work. My per-
rary individual psyché.
formance, writing, video and photography projects explore both a
IN THE RESIDENCY March 2011 â&#x20AC;&#x153;At Arteles, I worked on a translation project involving letters
love narrative by perverting it with false psychiatric analyses.
related to a break-up, using cheap transcription devices and
I also participated to the Perfo! event held in Tampere with a per-
medical theories. Inspired by the DSM IV, I reinvented a typical
formance called Chakras.â&#x20AC;?
SAMANTHA EPPS
United Kingdom
samantha.epps@hotmail.co.uk // www.samanthaepps.com // Currently working and living in Norwich, England Samanthaâ&#x20AC;&#x2122;s visual practice is action and performance based,
Samantha is also a PhD student based at Norwich University
with an emphasis on how this is later shown to an audience
College of the Arts, her project investigates how conceptual
using different methods of documentation. Recent projects have
artists from the UK, Europe and America presented original ideas
experimented with a variety of presentation techniques including
and art works through exhibition catalogues from the period
spoken-word performances, the pairing of text and images and
1965 to 1973.
charting accumulated data gathered from durational experiences in printed documents.
IN THE RESIDENCY March 2011 During my time at Arteles i became increasingly frustrated by
These actions, some taking place for brief moments, whilst oth-
the limitations that my new sub-zero and snow covered environ-
ers lasted several hours or days were often performed alone and
ment were putting on my normal practice and lifestyle. I decided
documented using basic equipment. The time at Arteles allowed
to spend the month devising projects that would enable me to
me to experiment with how i would present information about my
make use of, cope with, and destroy the snow that surrounded me
projects to an audience including spoken word performances,
including learning how to build snow shelters, taking road trips to
power point presentations, the production of a catalogue, and the
sites covered by snow, ingesting and melting snow.
pairing of text and image.
â&#x20AC;&#x153; Always as to be challenging! â&#x20AC;&#x153;
JEANNE DE PETRICONI France depetriconijeanne@yahoo.fr // www.jeannedepetriconi.com // Currently working and living in Corsica, France Initially interested in memory and signs, Jeanne de Petriconi was
order to run counter to them. The work of Jeanne comes from the
fascinated by the power of nature. She captures the movement
desire to develop a story through pieces of reality. She sets up col-
that she translates into sculptures or drawings. Based on obser-
lections of places through drawings, and she expresses through
vation of the intrinsic properties of the materials she uses in her
sculpture, the strength of the gesture, brutal and protector, and
sculpture, her creative process transforms these materials in
the history contained in these pieces of reality.
Linnunrata, 2011 38 road signs screwed on an aluminium band, winded around an aluminium bar 400 x 80 x 110 cm
IN THE RESIDENCY February 2011 This unexpected sculpture has been done in febbruary 2011.
mind the first function of the road signs, and, in the same time, a
Each road sign selected contains a double meaning. The signs
part of the landscape, in having a tree aspect.
show as well a way to a street, a path, as refer to Finland, its
Moreover, their luminescent properties, in particular lighted up
geography, myths, old crafts and its landscapes.
at night time, evoques a winter landscape, or show us a constel-
The sculpture installed by a crossroads, permit us to keep in
lation of poetic words that bring us back to the title.
EDWARD LAWRENSON
United Kingdom
edward-lawrenson@hotmail.com // Currently working and living in Bristol, United Kingdom I am a visual artist from Cambridge, UK. After having studied Fine
my own practice. Via the medium of painting, both the procedural
Art Painting at Winchester School Of Art and Lâ&#x20AC;&#x2122;Ecole Nationale des
and theoretical aspects of the medium, I am attempting to explore
Beaux Arts in Paris I now live and work in Bristol and Gloucester-
notions of existentialism, escapism and the authority of narrative.
shire, dividing my time as a studio assistant for Science Ltd. and
IN THE RESIDENCY February 2011 “During the residency at Arteles I was almost overwhelmed with
I tried to use my time there to continue my primary artistic
the beauty of the creative centres geographical setting and the
research whilst remaining open to new influence. The majority of
community which I found there.
my stay encouraged me to explore the idea of landscape and it’s pervading presence.”
“ Art is my soul. Art is in my soul. It is my being.“
SUSAN BERKOWITZ
USA
susanberkowitz@msn.com // www.breweryartwalk.com // Currently working and living in Los Angeles, California I am a full time fine art alternative process’s/mixed media artist. I
helps rescue homeless/abused kids off the street and transition
have recently expanded my vision,ideas and concepts to environ-
them to a healthy way of life). I raise money by making and selling
mental/earth art. There is alot of heartache in the world and we
cozy,warm fleece blankets and lighted decorative wine bottles.
are only given 1 life. As individuals we need to stop every so often
I have 4 studio mates at The Brewery Artist Complex that houses
and just be in the moment of the beauty that surrounds us. We
300 artists . I love being in this environment and being around
need to remember and respect, as well as give back to the earth
other artists to talk, create, observe , critique, discuss art, books,
what the earth has given to us.I have also begun to raise money
life. My studio is one of the top 3 places I have found serenity. The
for Covenant House in Hollywood, California (An organization that
other two places? My home and Finland
Paulina, 2011 Fuji Dry Transfer on Artists Paper
Birch, 2011 Fuji Dry Transfer on Artists Paper
3 1/4 x 4 1/4 inches (unframed) 10 x 10 inches( Framed)
3 1/4 x 4 1/4 inches (unframed) 10 x 10 inches( Framed)
IN THE RESIDENCY January 2011 I Presented a project based on the Finlandâ&#x20AC;&#x2122;s Kalevala Poems.
of the 50 poems or an entire poem. I then photographed these
With this I built assemblages from 85% of objects I found in Fin-
assemblages with Slide (Chrome/Dia) film and made Polaroid
land and 15% objects I brought with me that represented sections
and Fuji instant film Dry Transfers.
â&#x20AC;&#x153; Art is to reboot the universe.â&#x20AC;&#x153;
CETUSSS
France
cetusss@elvisss.com // http://elvisss.com
// Currently working and living in Geneva, Switzerland
My work is stimulated by the construction of utopian networks,
my potential monstrosity, science and the universe. I use various
by the virtuality passing through reality, new designed symbols,
techniques from the multi-media field.
IN THE RESIDENCY January 2011 I flirted between trees and snowflakes, to build an alphabetical graph. I also tried to die with too much saunas to carry people in a sound-set resulting from the ambient noises.
EMESE HRUSKA
Slovakia
emese.hruska@gmail.com // Currently working and living in London, UK â&#x20AC;&#x153;Emese Hruska is a Hungarian violinist, composer and PhD stu-
and how we can find the balance in ourselves to be as free and
dent at Roehampton University, London.
powerful in our minds as possible, to live a happy and mean-
As a violinist, besides classical music she studied with folk fiddle
ingful life. Her musical pieces involve syncopation and drama,
players of the Carpathian Basin, then performed across Europe
surprising harmonies and sometimes are inspired by Hungarian
as a Hungarian folk dance accompanist. Since her relocation
and Romanian folk melodies.
to the UK, she collaborated with musicians from Celtic, jazz,
This interest also led her to pursue a PhD in Music Psychology. In
popular and South Indian musical cultures, and composed and
her study, she is looking at advanced musiciansâ&#x20AC;&#x2122; coping process-
recorded music for students at several universities in Wales.
es, and how these relate to musical development, to find out more
In her compositions she communicates feelings and memo-
about how it is possible to thrive musically and in life, in general.â&#x20AC;?
ries from her own personal discoveries about getting on in life
“ I love to explore – Life would be a single tone without satisfying this constant hunger…”
IN THE RESIDENCY December 2010 “Related to my academic interests, I was running group dis-
Besides this, I gave five musical performances, and the environ-
cussions with the resident artists on topics of critical thinking,
ment inspired me to make new music which was recorded in the
preconception and open-mindedness. The aim was to under-
center and presented in Helsinki towards the end of the month.
stand how young contemporary artists develop their practice,
Subsequently, those compositions became part of a thread of new
and how creativity can be discovered in their professional devel-
musical ideas. “
opment. The conclusion was simple and considerably enthusing: “By doing it!”
CAROL MÜLLER
France
momu75@orange.fr // momu.blog.lemonde.fr // Currently working and living in Paris, France As a visual artist, I’ve invested in diverse mediums including
tion of open space through my promenade in the landscapes of
installation and performance before refocusing on photography
Northern Europe: Norway, Northern Germany, Iceland, Finland
and drawing. For the last 10 years, I’ve worked on the ques-
and Lithuania.
IN THE RESIDENCY December 2010 Around the lake of Arteles, in the cold and snow of December,
stretches out over 20 minutes and fully renders the impercep-
I walked and took photos. The oblique, winter light of Finland
tible transformations of the landscape that I observed every day
delicately etched the countryside in a manner that is foreign to
at Arteles. Even if the predominant sentiment is that of stasis, the
Franceâ&#x20AC;&#x2122;s zenithal rays. I chose to capture my contemplations in
visual voyage is permanent, ever changing. It speaks of a grand,
a photographic method that, in certain aspects, is reminiscent
fluid, sketch that unfolds in its own order.
of cyanotype. I created a film of six images, Hahmajârvi, that
“ You’re always trying to get things to come out perfect in art, because it’s real difficult in life.” (Woody Allen in Annie Hall)
TAKESHI MORO
Japan
takeshi@takeshimoro.com // www. takeshimoro.com // Currently working and living in Chicago, USA Takeshi Moro was born in Tokyo Japan, raised in the U.K. and
an MFA from The School of the Art Institute of Chicago, which he
currently resides in Chicago, IL. Moro attended Brown Univer-
received in 2008. Moro currently teaches photography and digital
sity in Rhode Island, where he received his BA in 2001 and briefly
media at Otterbein University as an Assistant Professor. Moro’s
worked in the field of finance. His interest in photography led him
work has been exhibited nationally and internationally including
to take courses at the Rhode Island School of Design and pursue
a solo exhibition at the Museum of Contemporary Art, Chicago.
IN THE RESIDENCY December 2010 Through the lens of the sauna culture, I attempted to find a thread
sense of tranquility and refinement. The act is a transformative
that connected myself to the Finnish people and culture. My
practice both mentally and physically.
understanding of the Finish sauna tradition is that it is similar to
I visited local sauna establishments such as Rauhaniemi, Raja-
that of a Japanese tea ceremony. It is a sacred place where par-
portin, HämeenkyrÜn Talviuimarit to try to capture the experience
ticipants leave behind the chaos of everyday and aspire towards a
of euphoria through sauna.
ELIA ELIEV
Canada
eeliev@hotmail.com // http://cargocollective.com/eeliev // Currently working and living in Canada Elia Eliev’s research focuses on the exploration of post/queer
He is currently enrolled in the Ph.D. in Women’s studies (Gender,
political identities, and masculinities in contemporary situ-
Power and Representations) at the Institute of Women’s studies
ated artistic practices and subcultural queer productions.
in Ottawa.
IN THE RESIDENCY September - October 2010 Through divers experimentations of new media and perfor-
Moreover, I was interested in knowing how to circulate such dif-
mance, my artistic production revolved around the desire of the
ference in both the social and intimate spheres.
realization and recognition of difference in the gay communities.
ALICIA VIANI
Oregon, USA
vialicia@gmail.com // Currently working and living in Portland, Oregon, USA I am a child and family therapist at a community mental health
on how they have positive experiences and take care of them-
agency in Portland, Oregon. My background and degree is in
selves. Besides the time and energy that goes into working and
social work. In Finland, I researched womenâ&#x20AC;&#x2122;s sexuality and wrote
writing, I spend a great deal of time seeking Finnish-like saunas
a book for a teenage audience based upon interviews with Finns
in Oregon and playing music.
IN THE RESIDENCY August 2010 At Arteles, I wrote a book for teens about young Finnish womenâ&#x20AC;&#x2122;s sexuality based on interviews with Finns that took place during 2009-2010.
CHARLIE WILLIAMS
USA
c@charliewilliams.org // www.charliewilliams.org // Currently working and living in Bath, UK I am a sometime pianist who has become interested in using technology to make musical interactions culturally relevant to those with and without a formal musical background and training.
“ Musical robots.“
IN THE RESIDENCY August 2010 At Arteles I wrote a couple of software pieces including a
make one step on a dark staircase light up as you approach it.
“sound mirror” in which you only exist to the extent that you
(http://vimeo.com/cwcw)
speak; a “sound bubbles” game in which pitch (but not spoken
I also worked on some sound-interactive pieces involving location
word) causes your projected image to blow a colorful bubble
recordings around Arteles, and co-wrote a song every day with
which then floats away when you stop singing; and a project to
Emma Hooper for Arteles Radio.
“ Though she now lives in Bath, both Emma and the dinosaurs she sings about are originally from Alberta, Canada. These songs are the dusty bones of home.“
EMMA HOOPER, WAITRESS FOR THE BEES
Canada
ephooper@gmail.com // waitressforthebees.bandcamp.com // Currently working and living in Bath, UK Waitress for the Bees is Emma Hooper’s solo project, using viola,
Emma Hooper was born in the cold blue of Alberta, Canada,
accordion, saw, electronics, and vocals to play you quirky and
where she spoke French and English, built things out of snow and
affecting songs about dinosaurs that will make your heart hurt.
attended lots of music lessons. She now lives in the soft green of the UK, where she plays viola with lots of brilliant bands like
Last August, The Waitress for the Bees’ performance in Hämeen-
Peter Gabriel, Get The Blessing, Newton Faulkner, The Cedar,
kyrö, Finland, made some knights cry and earned Emma a Finnish
and, of course, her own solo project, Waitress for the Bees. She
cultural knighthood. . (A selection of other recent performances
lives in Bath, but goes home to Canada as often as she can.
include Fusion Festival, Germany; Bristol Harbourside Festival, UK; and L’International, Paris, France.) The Waitress for the Bees’ first album, ”Albertosaurus” was released in the Spring of 2011.
IN THE RESIDENCY August 2010 Arteles is where the Albertosaurus project was brought to life.
artists working around me helped to keep things driven, moti-
Between picking berries and swimming in lakes, the songs were
vated, polished and, of course, a lot of fun.
conceived, written, and demoed. Inspiration from all the other
HANNA TAI
Australia
hannatai@gmail.com // www.hannatai.com // Currently working and living in Melbourne, Australia Iâ&#x20AC;&#x2122;m interested in the way cosmological ideas play out at the scale
tors of something true and meaningful. My practice is multidis-
of everyday life. I examine how experiences, objects, images,
ciplinary and embraces the hope, futility and humour in trying to
relationships and movements can be manifestations or indica-
understand.
IN THE RESIDENCY July 2010 “While on my residency I was introduced to the Finnish concept
The second time I made it across and back again. You can see
“Jokamiehenoikeus”, literally translated as “every man’s rights”.
the resulting Freedom to Roam video here: www.hannatai.com/
I wanted to exercise my right to cross through time and space,
freedom.html
so I built a log raft using wood from the surrounding forest and
The many great staff and artists at Arteles provided me with saws
paddled it across Lake Parilanjärvi.
and axes, and helped me tie knots and collect containers to keep
The first time I took the raft to the lake it almost sank. It was too
the raft afloat. They also showed me the way to the sauna. I think
heavy and I had tried paddling it with the small oar I found in the
of the sauna often.”
Arteles kitchen (later I was told this was not a small oar, but a spoon for stirring big pots of soup).
MICHAEL PULSFORD
Australia
michael.pulsford@gmail.com // www.michaelpulsford.com // Currently working and living in Melbourne, Australia Iâ&#x20AC;&#x2122;m a performer, songwriter and improviser. Iâ&#x20AC;&#x2122;m interested in improvisation both as a means of investigation and as a way of negotiating the world.
IN THE RESIDENCY July 2010 I made a sound design for Helsinki International Theatre’s devised performance ,’Cor’.
MAYA ARUCH
Israel
maya531ster@gmail.com // www.mayaaruch.weebly.com // Currently working and living in Jerusalem & Tel Aviv, Israel My works are individual pieces of art which, when looked upon,
I work in space and with space.
compose a whole, just like a patchwork.
It is important that the viewer be a part of the work.
I do video art, I sculpt, and try to find the connection between
Only then will the work be complete.
them within a given space.
IN THE RESIDENCY July - August 2010 During my time in Arteles I worked on several projects, installa-
In order to demonstrate it, I created a sphere which was one-half
tions and videos. The first project was a light sphere trapped in
above the ground and the other half was dug into the earth. The
Arteles’s cellar. The work was about the metaphysical space inside
meaning of it is the sphere can be a whole only when it’s in the
us- our inner world and the mandatory connection between the
ground. The problem was that the sphere, whose characteristics
former and the space that surrounds us. To do that I use materi-
are being dynamic and in motion, are just not useful in this case.
als which are difficult to perceive directly, but they do exist such
I also made several videos such as: “Everything is ok”, “Insight”
as light, and smoke. The second work entitled - “Match Point”
and “Close Up”.
dealt with the question of nomadism vs. the sense of belonging.
ARTELES Hahmaj채rventie 26 38490 Haukij채rvi Finland +358 341 023 787 info@arteles.org www.arteles.org